The Tabletop RPG Thread

cblais19

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I had my first actual play session of Stonetop tonight, in person at a nice little local-ish store that's going on one year of being a site for open tables + private rooms + "professional" DMing. Thankfully the open tables were quiet on a Sunday night, so we had a really nice space to meet & greet in person, and get to playing.

Probably the most enjoyable time I've had playing a game. Turns out "ask questions and build on the answers" is a super low-mental effort way to GM. The fact that the play guide & setting handouts are super well designed to be used at the table for play really helps.
 
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pauli

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I really liked how Stonetop functions as a framework to hang What the Party Actually Wants to Do from, at least in this player driven storytelling mode. I also feel like, as both a setting and a ruleset, it's less of a magnet for hijinks than games in the D&D mold are. Down to Earth characters with down to Earth concerns is a nice change from competitive ridiculousness. Not that I'll ever give up on my ridiculous characters. My characters are awesome, and everyone loves having them in the party.

I am 100% enjoying roleplaying with young people who are in turn roleplaying young people, but from my seat in middle age, it's an experience. They're crushing it on the conviction and believability metrics, and I'm very glad that my character design lets me fall back on first principles and do what's intuitive for me. This is in turn helped by... the player-driven storytelling. Answering all the GM questions means that of course the building blocks I need to play the character in a natural manner are available. The fact that those building blocks are coming from four different people (and processed by a fifth) are what make the things that get built with them interesting.

Partway through tonight's session, it crossed my mind that I wish we had a recording, because it was very successful.
 

pauli

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"My characters are awesome" he says, repeatedly playing "himself but in a fantasy setting."
Pfft. Rigel and Gwilim are clearly much more functional people than I am. Thinner, too.

But yes, I do deliberately start a new game and new group with something authentic and easy to play. After that, I can move on to, say, a tiefling bard/warlock who shoots magic from his saxophone and communicates entirely in anachronistic jazz slang. The sort of immersive character that everyone loves to RP around.
 

cblais19

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After that, I can move on to, say, a tiefling bard/warlock who shoots magic from his saxophone and communicates entirely in anachronistic jazz slang

I’ll give you that Tritone is extremely evocative, lol.

Honestly the age/experience dynamics of the Stonetop group just feel so very fantasy-novelesque in a good way.
 

Telwar

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I don't really think that's what I do necessarily. I think my favorite characters for roleplay have had a heavy dose of Teal'c-esque "you worship false gods" thing going on, though Ferdinand del Toro (minotaur battle cleric of the Dark Six) was much more about throwing over altars of Maztican deities he found offensive* than Furrow, the warforged formerly monk / reformatted cleric of the Silver Flame, was in Barovia.

The other is usually the mildly psychotic murder hobo, usually small sized, like a gobber gunslinger in Iron Kingdoms or a halfling rogue/assassin in D&D. The latter, one time when he needed a seat in a bar, stabbed a patron in the kidneys and took his spot.

* which is something for someone who's pretty into the darker gods of Eberron.
 
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GMBigKev

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That said, the bard had the absolutely sickest move I've ever performed in D&D - leaping off a giant eagle into the middle of a pack of goblins and then performing Thunderwave in the middle of them. Goblins flying everywhere while my bard shreds. On his electric mandolin.

Literally electric it did lightning damage when I hit people with it.
 

swiftdraw

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That said, the bard had the absolutely sickest move I've ever performed in D&D - leaping off a giant eagle into the middle of a pack of goblins and then performing Thunderwave in the middle of them. Goblins flying everywhere while my bard shreds. On his electric mandolin.

Literally electric it did lightning damage when I hit people with it.
Superhero landing?

My favorite character one of my D&D 3.5 players had was a burned out merc fighter. He was desperately trying to make a character with back story, but no plot hooks. Basically, he was a farmer that lost his farm and family to famine and disease. He held no grudge towards the ineffectual nobility or anything else, he just simply didn’t give a shit. Was he getting paid for it? No? Not his problem. Now he might help if it didn’t really inconvenience him at all, but most of the time he was just there to swing his glaive. He was so aggressively apathetic in a group of do-gooders it made for a hilarious contrast, particularly off our NG heart of gold cinnamon bun cleric that made her mind up that she could fix him. Spoiler alert: She couldn’t.
 
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rtrefz

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I wonder if the self-centered atheist paladin I played in my last 5e campaign counts as "against tropes"...
I'd say so! Other characters of mine:

A Halfling Barbarian, who was raised by orcs. Regrettably, he's now broken, mechanics-wise (I went for a dex-based barbarian. It doesn't work that well in 5e...). I played him as comic relief until he went into a rage.

A shapeshifting ranger who was stuck in wolf form for years and now thinks like a wolf.
 
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pauli

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I focus more on "how can I go against tropes" for my characters. I haven't had a chance to play my drow wizard, who's based on flounder from Animal House.
I wonder if the self-centered atheist paladin I played in my last 5e campaign counts as "against tropes"...
All D&D characters are tropey; that's a fundamental part of how the game is built as a derivative of fantasy fiction and pop culture. And, to be obnoxiously reductive, striving for trope-avoidance is its own trope. (I think this is where my high school English teacher would start talking about Joseph Cambell)

The question is: how do you take the building blocks established by rules, setting, and cultural convention, and add something else to them in a way that produces a character that's fun to play and interesting as more than just the sum of its parts? Do you create a backstory/origin with experiences that produce an unusual point of view? Do you bring in ideas from another form of media, or from modern life? Do you have philosophical ideas you want to work out through roleplaying? Do you color within the lines, but use unusually lush crayons? What you do to go from "I made lunch" to "I made a stand-out restaurant grade meal" from the same basic ingredients as everyone else? The pantry is pretty good, but it's far from complete...

For me, it's the roleplaying that makes a character stand out, and a good character should interact vividly with the setting and the other players, should have reasons to do interesting things. If you're playing more than just set content (not a knock on that, mind you), then a good character should also be covered with organic plot hooks that grab passing game elements, things that inspire the DM. As players we have an instinct that says "how can I break this?" - if that's happening for character-based reasons rather than just because we are chaos monkeys, the DM can turn it into "how do unexpected but believable events unfold?"

The flip side is bad character design, where the ideas you want to try will inherently cause friction with (or disimmersion of) the other players, or with how the game fundamentally works. For instance, the "I'm not an asshole, my character is an asshole, I'm just roleplaying, you understand" guy I dealt with a few months ago, dragging an obvious party decision out for 45 minutes of strained RP.
 
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cblais19

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That’s fine, as long as it informs characterization and behavior. Nothing worse than a supposed animal instinct barbarian debating the finer points of court behavior at convenient points in plot solely due to meta gaming.

It’s so boring.

Oh, no, not instinct like that. It's a core characterization term from some narrative games, a sort of one-liner that's your character's driving trait at the current time. Can change, Burning Wheel calls it something else. The core of what you lean on when your PC is reacting to things. From there, your choice of background + answers to the questions each one poses tend to inform a pretty damn solid sketch of a character that is actionable in play.

EG (examples from the Lightbearer / Seeker playbooks respectively):

  • CHARITY: To go without so that others are better off.
  • HOPE: To inspire others in the face of adversity.
  • MERCY: To bring relief or comfort, to give second chances.
  • RIGHTEOUSNESS: To refuse to suffer an injustice or a lesser evil.
  • CUNNING: To scheme, manipulate, and plot.
  • CURIOSITY: To seek answers that maybe you oughtn’t.
  • HUBRIS: To assume you know best, that you can’t fail.
  • MYSTERY: To avoid straight answers; to keep secrets.
  • VISION: To think big and pursue grandiose goals.
5e tries to get at some of this via whatever it calls the background stuff (bonds/traits/??); but it's kinda loose and isn't mechanized. In Stonetop for instance, Pauli's character made decisions that were in keeping with his instinct towards Stewardship - and thus got to mark extra XP at the end of session move.
 
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papadage

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Ah, gotcha. I've read peripherally about concepts like that. It's neat in RP and also mechanical terms.

I forget what game, but there's one that lets you define a mechanical behavior you do in certain circumstances, so you don't need to tell them DM whether you have drawn your weapons when entering a dungeon or cave and that you search all bodies unless you say otherwise.

Gets rid of the cruft.
 

kenada

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I liked my character in our Blades in the Dark game. I didn’t know much about him when we started, but I found out more as we played. I feel meh about my Stonetop character and so-so about Torchbearer.

Other characters I liked was my character in a Call of Cthulhu game where I was the only one not to give into the temptation to kill myself. I was proud I’d be dying on my terms. I also liled Benedict Grobbleblob, my first character in our Masks of Nyarlathotep campaign. He was pretty competent until I was dumb and put on the mask. Then I cast a spell and whoops he went crazy.

I also had fun with my character in our Mage: The Awakening 2e game. He was a life mage who changed appearances like people change clothes. I had a handful of really good scenes.
  • Turning into an attractive co-ed and manipulating some poor dork at the museum, so I could palm his badge to get access to the backroom. Somehow, the ST didn’t expect that.
  • Turning into our target and walking right up to the house we were staking out and knocking on the door. They and the ST weren’t expecting that either.
  • When we were meeting one of mage factions, grabbing a dress off the rack for a ceremony and changing into something that would look good in it. We were near the end of the campaign, yet everyone was still surprised. 🤷🏻‍♀️
  • In the final battle, I AoE-heal tanked the boss. Everyone was taking tons of lethal damage, but I’d heal everyone every round. It was awesome.
It’s been a long-ass time since I played D&D in a proper campaign. I liked my 4e bear shaman even though the DM and campaign were shit.
 

cblais19

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Ah, gotcha. I've read peripherally about concepts like that. It's neat in RP and also mechanical terms.

I forget what game, but there's one that lets you define a mechanical behavior you do in certain circumstances, so you don't need to tell them DM whether you have drawn your weapons when entering a dungeon or cave and that you search all bodies unless you say otherwise.

Gets rid of the cruft.

I'm not sure why you'd ever need to say any of that anyway tbh. It's like, is your character a competent human? Unless there's a solid reason (my guy is a scholar, he'd never draw his weapon because he'd be busy gazing about or something) ofc you're character is going to do things that make sense that you the player shouldn't have to enumerate. I guess if you're playing a hardcore sim game that all might be relevant, but those aren't super common these days.

Along those lines, there's a great outfitting/inventory streamlining concept in Stonetop where you can mark some small items under "Undefined" and then use a move called "Have What you Need" to go like "of course I brought spare socks/a bowstring/a lantern/etc" as long as it makes sense in the fiction.
 

cblais19

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As an aside, this post over on ENW is a fairly jargon-free summation of where I am with RPG play at this point, the core thesis of which is:

When something enters the imagined space, it needs to be actionable by one participant, another participant, or all participants
 
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kenada

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I'm not sure why you'd ever need to say any of that anyway tbh. It's like, is your character a competent human? Unless there's a solid reason (my guy is a scholar, he'd never draw his weapon because he'd be busy gazing about or something) ofc you're character is going to do things that make sense that you the player shouldn't have to enumerate. I guess if you're playing a hardcore sim game that all might be relevant, but those aren't super common these days.
One of the things I like about the way I trigger initiative in my homebrew system is it makes these kind of things work pretty organically. Initiative is triggered when you equip a weapon. Draw a weapon in a social situation? Triggered initiative. In a dungeon and not surprised? Equip a weapon to join the fray. There’s no confusion about whether or not someone has a weapon equipped or what they’re doing.
 
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papadage

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The instinct solution for equipping weapons and other procedural details is more about opinions.

Does your party heal before searching a room after combat?
Which weapon does your character favor in this dungeon?
Do you light a torch or lantern when it's dark?
Do you search for traps, and you move through a potentially hostile area?

Etc.

PF2E partially addresses this with exploration mode.
 

kenada

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The instinct solution for equipping weapons and other procedural details is more about opinions.

Does your party heal before searching a room after combat?
Which weapon does your character favor in this dungeon?
Do you light a torch or lantern when it's dark?
Do you search for traps, and you move through a potentially hostile area?

Etc.

PF2E partially addresses this with exploration mode.
Not sure if directed at my post or @cblais19, but I’ll take it as an opportunity to elaborate on how my homebrew system handles these situations.
  • You can use First Aid as many times as you want for the rest of the 10-minute turn that featured combat. The cost is stress, which is one of your attrition resources. Every time you are healed, you gain 1 stress. Once you are at your limit, you cannot benefit from effects that cost stress, and harmful ones are fatal. Otherwise, PCs are assumed to be at max HP.
  • Characters can equip any weapon in their inventory during equip phase. If you want to swap to a shield, you can do that. Every round of combat starts with an equip phase. The only exception is if you are surprised, which denies you your first round equip phase.
  • You need a torch or lantern to see in the dark. It goes in one pf your hand slots. You have to balance this when using weapons in combat. The GM tracks duration (still WIP on types of sources).
  • Pixel bitching for traps is lame and boring. They should be framed as part of the challenge of navigating the dungeon. If there are consequences, the GM foregrounds them as part of the standard process of resolving a skill check. Otherwise, you accomplish your goal. How best to frame trap-based and hidden challenges is still TBD.
Time is handled at several scales: 10-second rounds, 10-minute turns, 1-day travel intervals, 1-week downtime activities. You should zoom in and out as appropriate.

Making a skill check typically takes a turn. There is some flexibility based on whether multiple checks are happening concurrently. The GM is responsible for setting the zoom and adjudicating concurrent checks. The GM is also responsible for scene-framing.

When a PC wants something, the GM should frame an appropriate scene—ideally, with adversity (because otherwise what’s the point? Color?). Players only have only control of their characters. Situational authority is typically exercised by and reserved to the GM.

As part of the dialog that structures play, the GM should be making sure everyone who wants to participate is in the scene. There are obvious constraints on that like you can’t be in two scenes that are happening at the same time and can’t be in two places if they are too far apart.

Unlike some play with a narrativist agenda, I handle time and space pretty concretely. Distances are measured in meters and kilometers, and time is structured as indicated above. In do this in part to support the exploration elements, in part for aesthetics (as a call back to classic D&D), and in part because I want the structure.

I use trackers to handle progression in a complex conflict. Concrete time and space function as another form of progression. For example, when my PCs wanted to get back to their settlement before (they thought) the fire dragon would arrive, they had the option of riding their horses without rest. That would have allowed them to travel the six hexes they needed to go in one day, but it would have risked harming the horses.
 
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Nekojin

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So, I have an interesting situation for my group, and I'd like some input.

The group is repeatedly running into, and thwarting (somewhat), the Cult of Dragons. Because of the history of the Cult of Dragons, everyone believes that they're working to summon Tiamat to Toril. The leaders of the Cult of Dragons have different intentions.

The players are going to have a very brief opportunity to talk to Tiamat herself. Tiamat has her attention turned away from Toril at the moment, working more on expanding her reach on Oerth and Krynn*. Obviously she's not going to give away her intentions, but she's also not really concerned about mere mortals who aren't directly challenging her. She feels that they'll be dead and dust before she turns her attention to Toril again.

So... what would Tiamat want to know from the players? Would she have ANY interest at all, or would this brief connection simply bore her?

* The campaign is starting in the Forgotten Realms, but the party already has a damaged Spelljammer, and will eventually be travelling the Astral Seas, so we're in a Planescape setting overall.
 

Moller

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So, I have an interesting situation for my group, and I'd like some input.

The group is repeatedly running into, and thwarting (somewhat), the Cult of Dragons. Because of the history of the Cult of Dragons, everyone believes that they're working to summon Tiamat to Toril. The leaders of the Cult of Dragons have different intentions.

The players are going to have a very brief opportunity to talk to Tiamat herself. Tiamat has her attention turned away from Toril at the moment, working more on expanding her reach on Oerth and Krynn*. Obviously she's not going to give away her intentions, but she's also not really concerned about mere mortals who aren't directly challenging her. She feels that they'll be dead and dust before she turns her attention to Toril again.

So... what would Tiamat want to know from the players? Would she have ANY interest at all, or would this brief connection simply bore her?

* The campaign is starting in the Forgotten Realms, but the party already has a damaged Spelljammer, and will eventually be travelling the Astral Seas, so we're in a Planescape setting overall.

I think that a deity would always have their curiosity piqued when a mortal is bold enough to speak to them directly. If they have something to offer Tiamat they may even be able to hold her attention for a moment. I would play it where if they aren't offering anything or being sufficiently obsequious to her then she quickly grows bored with them.
 

xcmt

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I like my deities to be mysterious and unknowable and difficult to comprehend by the mortal mind, but that probably makes for crappy roleplay in this context. In my head I imagine Tiamat being deeply uninterested in the nattering of yet another group of humanoid mortals, and would be inclined to dismiss them like all the thousands of prayers she ignores on a minute to minute basis, at least until she learns that the group is working against the Cult of the Dragon. My Forgotten Realms lore knowledge stops at 3.5 but I would imagine Tiamat hates the cult for converting her beloved children into dracoliches, and might be inclined to not just speak but offer boons to anyone who demonstrates a willingness and capacity for violence to fight them. I would be thoroughly unable to resist Tiamat using the opportunity to lure/convert any paladins or clerics in the party over to the dark side with promises of the power necessary to acquit their war against the Cult.
 
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Nekojin

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@xcmt
That's going to be part of the discussion. If they think to mention the Cult of the Dragon, she'll be offended that they'll be using her name to commit their crimes, without giving her the proper respect that she's due.

Also, the team has recently had a non-violent encounter with a young red dragon, which Tiamat is going to be able to detect and ask about.

This game takes place in 5e's timeline; as far as things are concerned, the Cult of the Dragon was extinguished more than a century ago (there's actually an official adventure chain that involves the return of the Cult of the Dragon too (Tyranny of Dragons), but I was completely unaware of that when I started this campaign), so people are concerned about their return.
 

rtrefz

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I don't have much to add other than a few ideas:

1: Is the party really talking to Tiamat? What if someone is trying to fake the party out?

2: Have different heads talk based on Tiamat's mood. For example, have the red head talk when the meeting starts because she's pissed off that she's being pestered by the party, but switch to the green head when she's scheming.
 

kenada

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17,112
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Another session, another recap.

I made some changes to the system for this session (see below, copied from the recap). Overall, I’m pretty happy with how it all worked out. Things flowed pretty smoothly. Deirdre’s player in particular really liked how Wisdom applied to skill checks because it gave him more opportunities to incorporate it into skills (versus before you had to integrate it as an approach).

There were some rebuilds at the start. We had to figure out retroactively how people’s Wisdoms were advanced. I also let Deirdre reallocate Wits because it was doing something else now, and her player had increased it before to make it more useful as an approach. Her player decided to increase Intellect this time instead.

Our next session is in a few weeks. I need to think about whether group checks need a tweak. I also look forward to getting more experience to how complex (i.e., greater than level 1) conflicts play out with consequences. Having consequences always happen until the conflict resolves is definitely a different approach. Conceptually, it’s like how monsters keep hitting you in combat until they’re defeated (or the combat is ended somehow).

⁂​
  • Wisdom is no longer an attribute. Replacing it is Wits, which is your mental agility/quickness. That means stats break down into Physical / Mental groups with rough equivalents between both sets (Physical: Strength, Dexterity, Endurance; Mental: Intellect, Wits, Willpower).
  • Wisdom is now what I’m calling was was variously known as “knowledge subjects” and “experiences”. These are things your character has done that are important experiences. Previously, they allowed Wisdom to be used as an attribute if you could say how they related.
  • Now when you make a check, if you can say how your Wisdom applies, you can add the corresponding Wisdom’s dice to the margin of your result. It makes experience sort of like a weapon for non-combat skill checks. (There will be examples in the recap.)
  • Wisdom advances based on usage. If you succeed at a check, you make a check next to Wisdom. At intervals of 50 EXP, in the order of your choice, roll the check Wisdom’s die or dice. If the result is 1, the Wisdom advances (from 1 to 0d6 to 1d6 and so on). You may also choose to take a new Wisdom. This process happens immediately at the end of the session. After you have gained or advanced a Wisdom, erase all checks.
  • Skill checks no longer generate degrees of success. All checks are made as part of conflicts. A “simple” skill check is a level 1 conflict. When you make a check in a conflict, the GM foregrounds consequences as normal. Checks generate margin towards resolving the conflict. If the conflict is not resolved, consequences happen. A level 1 conflict ends after one roll, but other ones may take as many rolls as required.
    • This change allows for bigger margins (from stats but also Wisdom and other sources of dice). It also allows for mitigation to apply to non-combat checks, bringing combat and non-combat resolution closer together in terms of mechanics.
    • Target difficulties have been recalibrated to start at 6 instead of 8 because I got rid of defining mixed success as below the target number. Doing mental subtraction is annoying. Now it (and mental division) is gone.
  • Group skill checks have been revised as well. The lead now applies any Wisdom. Failures (including the lead’s) add mitigation to the result. The leader can buy off failures by taking stress at 1:1 per mitigation.
 

cblais19

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Two sessions of TTRPGs yesterday, 3 hours of 5e Curse of Strahd and 2hrs of Stonetop (only our second session because everybody has been on the road including me!). In the first one, they made it through the Amber Temple and whooshed off to Castle Ravenloft to ascend towards their destined encounter - the fact that they portelled in just at the end of the session was a good spot to conclude. Hopefully we can wrap it up in one more good session with a boss fight - be nice to tie it off in a mostly satisfactory manner and end that campaign.

The 2 hrs of Stonetop were interesting because if you look at it top down, all we did was a) enter a clearing with a menhir, b) run a quick combat with some strange humanoid creatures called crinwin, c) discover a secondary mound with steps descending down, d) enter and deal with a first room that had magical defenses, e) find some storerooms, and f) work our way deeper through descending passages to the outside of a chamber located under the menhir deep in the earth.

But along the way we learned and did so much! I opened the session off with some "love letters" from the GM - little tidbits of scene reminders + asking the PC a question that -> informed a roll with mechanical outcomes (Hold X metacurrency). One thing that I thought was really cool is I asked a question of @pauli 's character about how they approach mentorship (they've been training the youngest character on forestry stuff), and his answer there circled back around at the end when we did the End of Session move asking about how each player's Instinct was struggled against or put into practice during the session. It's fun watching everybody do that retroactive look on how events played out through their character's lens, and I think helps reinforce IC Instincts.

Also ran my first narrative combat which I thought went pretty well, one of the players called it out as something he'd enjoyed seeing in action.
 
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swiftdraw

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Re: The Traveller game…

The bastard did it. The MFing Ref actually did it. He declared a Bane on the astrogation roll to jump and we ended up mis-jumping due to it.
So, to catch y’all up, the crew took a noble and his entourage on a safari to another planet to hunt kaiju. After a very eventful first outing, which saw my character stranded for several days, things went mostly well. Only two members of the entourage got mauled and presumably eaten, but were the help and therefore were acceptable loses. So with trophies and specimens secured and loaded onto the ship, we departed.

So remember the S.S. Bane? Our horrifically haunted/cursed ship? For the first time, the Ref made good on the rule that he gets to put a Bane (roll an additional die and discard the highest roll) on our astrogation check. And boy howdy did we have ourselves a misjump. Normally our result would have been the equivalent to “rocks fall and everyone dies” and the end of the campaign. That is not what happens. So, usually, Traveller is a pretty serious, hardish sci-fi setting and as written doesn’t lend itself wacky space shenanigans. Well, with 5 guys whose brains have been poisoned with WH40k for between 7-20 years, that goes out the window quick. Instead of our atoms coming out into real space at some undetermined point at some undetermined time, the Ref decided to at least have some fun if we’re ending the campaign already. Oh, and the barbershop quartet showed up too.

So we hit jump space with a loud “kerrr-PLANG!” as we tasted copper, sulphur, and something indescribable (Ref’s words), the whole ship shudders, shrieks and roars, and everything loses power. And when I say everything, I mean from the ship’s systems, most notably the gravity, to personal devices had 0 power available. And when I state the obvious “WTF”, the Ref hands out music sheets for us to sing the summary of our situation as the ghostly apparitions of a barbershop quartet. I got the lower range tempo keeping “bum bumbum bum bum” and such more than actually lyrics. Boo. Anyhow, after that was over with, we hear something scrapping outside the bulkhead doors. We crack them open to see one of the panther like lizard/saurian things the competent people captured floating around trying to claw the walls. So we closed the doors.

So, we quickly set our objectives and begin our plan to achieve them:
1) Reach the engineering section to repair and restart the power plant and possibly the jump drive*. This is priority numero uno as all else is moot if these things aren’t functioning properly.
2) Secure the passengers, primarily the client.
3) Secure the rest of the ship and figure out what the FECK is going on downstairs. The shuddering and noise from their sounded ominous.
4) Survive the misjump

So off we went, bypassing the angry lizard panther thing**, confirming the noble and more important entourage members were secured in their upper deck state rooms, and made our way to engineering. Good news: The power plant and JD were functioning just fine! Yay! Bad news: The JD was probably a run away and the breakers to the main and auxiliary power buses were on the lower level for some fucking reason^. Boo! So down stairs we go to find pandaemonium of the grandest scale occurring.

So, after getting to the bottom of the stairs we found ourselves gazing into the trophy room. This is a problem seeing as there is supposed to be a bulkhead, a hallway, and another wall between the stairwell and the trophy room. It takes about two seconds to identify the cause. The flying, not floating, but flying spectral head of a Kaiju whose skull the noble claimed as a trophy. On top of this was a battle royale between the head, various other reanimated trophies, escaped captured fauna and a couple of surviving entourage members trying their damnedest to bring the 106mm from the airskiff to bear in zero-g.

So, initially, we draw our laser pistols to get stuck in. However, we quickly realize that the power cells were depleted and we were now at the attention of a trio of reanimated taxidermied tree crabs. The Army officer, scout and myself screen our ex-hobo convict engineer as he propels himself to the panels where the electrical bus breakers lay. To cut down on a nearly two real world hour battle, the following happened:

a) our engineer successfully managed to repair and reset the breakers and attached cabling to restore power.
b) despite our disadvantage at fighting, untrained, in a zero-g environment, were manage to hold back the zombie crabs, who seemed to have less issue with zero-g.
c) we return upstairs to hear a THUMP and a near simultaneous explosion downstairs as the remaining entourage members apparently proved our assessment of their situation wrong and fired of the 106mm. Inside an enclosed, pressurized vessel.
d) the breakers trip again, we reset them again, noting that the skull was shattered but reconstituting itself. Many of the escaped specimen were stunned and were being set upon by the mostly undamaged reanimated things.
e) we reset systems and prepare to seal off the lower deck for the duration of the jump
d) the lizard panther makes its presence known, and is beaten into unconsciousness with blunt objects and bulkhead paneling used as improvised shields. However, our scout and a entourage member get fucked up. The noble coup de grace it with a slugthrower pistol.
f) doing a quick inventory, we find we don’t have enough supplies to make it the remaining 7 days in jump space IF everything goes normally. LOL.
g) the three of us still standing set out back to the lower deck to gather supplies. In a fit of inspiration, the engineer disables gravity again to ease the movement of the crates.
h) the skull got the “winner winner chicken dinner” after reconstituting itself in the lower deck battle royale. Then it noticed us.
i) cue Benny Hill as we evade the skull and try to keep it from tearing up the actual pressure vessel as it and the 106mm did terrible, terrible things to the structure down there.
j) the noble and three remaining entourage members come down to assist, about piss themselves upon seeing the head, but make for a wonderful distraction as we begin to execute Operation Mother of Invention.
k) the engineer begins moving 4 crates of critical supplies to the stair well using the zero-g and momentum. We keep the kaiju head distracted while they’re moving to the stairwell. Meanwhile, the injured scout and noble sneak around and place IED directional charges on the vehicle bay doors.
l) The one of the entourage who got her shit together distracts the kaiju head long enough for me to assist the officer into a harness rig attached to a winch. At which point he gets the kaiju’s attention with some high caliber rifle fire that sends him flying into the vehicle bay.
m) the kaiju miraculously follows, at which point I activate the winch in high gear, yank out the officer and realized I failed to account for halting the officer’s momentum.
n) bay doors slam shut on the kaiju, officer slams into the forward bulkhead and is knocked the fuck out with some grievous injuries, and we gather him and fuck off back upstairs, sealing it behind us.

So this is where I must point out, we’re still in jump space. We’re inside a little bubble of reality that doesn’t extend much past the surface of our ship. So when we detonated those bay door charges and the fuel cells on the airskiff in an attempt to eject the kaiju head, we were potentially going to have to deal with more than a simple breach into the hard vacuum of space. But with the now familiar roar of the kaiju and the shuddering of the ship’s structure from it trying to break it’s imprisonment, detonate them we did. There was a split second of a indescribable color and sound that were not seen or heard with eyes or ears, there was a power surge and buckling of the decking. Pressure loss and other alarms began to blare, followed by a strange shift in gravity and tortured creaking of the ship’s frame. Somewhere faintly, almost distantly, you could hear a dirge sung in a cappella and then silence. Looking out an emergency viewport, as the engineer frantically tries to triage the multitude of failures and warnings appearing and the noble and remaining entourage try to stabilize the officer, my character sees a star. We’re back in real space a week early. And that’s where we ended the latest session.

*If the jump drive stopped working completely, we wouldn’t have to worry about any of this because the ship would be directly exposed to jump space and things like physics stop working.
**Even if we thought we could kill it without major injuries, doing so would have probably pissed off the client. So, since it seemed to be having trouble with zero-g, we just slipped around it.
^Not having critical breakers like this easily accessible in the maintenance bay boggles my aircraft mechanic mind. Sadly, I have encountered a similar situation with a B-1 that was dumping fuel, so I can’t exactly call BS on this.
 

cblais19

Ars Tribunus Angusticlavius
9,233
Subscriptor
Last night one of my groups was trying to find a missing airship core some criminal group had stolen. We determined it had been secreted away in a region of the city, and they narrowed down what building it was in. Scoped it out invisibly, determined there were arcane security cameras around it, did some hijinks to get to the roof and through a trapdoor without triggering alarms and the rogue went off to scout things out. Found the core on the bottom floor in a repurposed loading bay type place and "you notice a large brass sphere sitting over in front of the large double doors exiting to the yard beyond."

Some more direct action resulted in alarms being triggered, and sounds indicating Bad Things with the core below. Dashing down the stairs as a whole party:
Me: "As you rush down the stairs, you see that huge brass sphere has unfolded into a clockwork dragon, eyes glowing green as it surveils the area before landing on your moving forms entering its area."
Player: "Man, you really like dragons right now. Last week in the other game we fought a wolf-dragon thing, now this!"
Me: "Wellllll, it could be a giant clockwork centepede instead?"
Entire group almost in unison: "NO A DRAGON IS FINE"

Fun little encounter, trying out some new monster/solo building techniques (basically all 4e stuff re-mathed and adjusted for 5e's core design with a degree of Dark Souls style telegraphic devastating attacks) to create a fairly dynamic and mobile fight.
 

swiftdraw

Ars Praefectus
4,017
Subscriptor
Last night one of my groups was trying to find a missing airship core some criminal group had stolen. We determined it had been secreted away in a region of the city, and they narrowed down what building it was in. Scoped it out invisibly, determined there were arcane security cameras around it, did some hijinks to get to the roof and through a trapdoor without triggering alarms and the rogue went off to scout things out. Found the core on the bottom floor in a repurposed loading bay type place and "you notice a large brass sphere sitting over in front of the large double doors exiting to the yard beyond."

Some more direct action resulted in alarms being triggered, and sounds indicating Bad Things with the core below. Dashing down the stairs as a whole party:
Me: "As you rush down the stairs, you see that huge brass sphere has unfolded into a clockwork dragon, eyes glowing green as it surveils the area before landing on your moving forms entering its area."
Player: "Man, you really like dragons right now. Last week in the other game we fought a wolf-dragon thing, now this!"
Me: "Wellllll, it could be a giant clockwork centepede instead?"
Entire group almost in unison: "NO A DRAGON IS FINE"

Fun little encounter, trying out some new monster/solo building techniques (basically all 4e stuff re-mathed and adjusted for 5e's core design with a degree of Dark Souls style telegraphic devastating attacks) to create a fairly dynamic and mobile fight.
Whats so bad about a centipede?