Jun. 19th, 2012

innocent_man: (woola)
Last night, y'see.

Recall that last time, the characters had just rescued Justin and now had emerged from a secret tunnel under a bakery into the crowded streets of the Third District. People pointed and gaped at Xax, panic ensued, Justin threw a big bag of flour into the air and they all jumped up to the rooftops.

They ran across the rooftops and made it to the Fourth District, where they found some sun-skimmers covered in cloths. I compelled Aspects to get them to take them (they would have anyway, but this way they got FATE points), and they took off. They got into the Fifth District before Mar'ik and a squad of guards zipped up on skimmers and attacked.

The dogfight lasted a while; the characters couldn't really avoid taking damage, but they downed some of the mooks. Highlights: Justin jumping from his skimmer to a mook's and crashing it into another one, and then fighting the mook on the skimmer; Elitza putting a "She's Crazy!" Aspect on a couple of mooks by charging at them; Gar dogfighting (not entirely successfully) with Mar'ik. But Elitza and Gar were both shot down, and Mar'ik called in reinforcements. Justin called up the spirits of the Green Martians to cover their escape, and the rest of them bugged out.

They landed outside the walls, and were found by a band of Green Martians. Taken back to camp in the foothills of the mountains, they got each other up to speed and talked about their next move. The Green Tribes were scattered since the fall of Argon, and while they would probably be willing to rally around Green Raenna, they needed a sign to bring them to the banner. The White Apes, too, had been routed, and most of them now followed Garus. And there were still rogue Red Martians who had been loyal to Gar and the PCs, but who were now in hiding.

The characters needed a sign, a way to bring people to their banner, but they also needed to rebuild the devices lost in the fall of Argon. Those anti-aircraft devices would be critical in taking Xenon. And for that, they needed White Ape engineering. They decide they would venture north and visit the White Ape monastery, and try to entreat the White Ape holy men to join them. That, Xax felt, should bring even Garus to their side.

Next session, which isn't until the end of July, we will undertake that journey.
innocent_man: (r&g)
I was trying to decide what character to make today. I thought about Apocalypse Prevention, Inc, but honestly after Stew's character-creating experienc doesn't fill me with a heck of a lot of desire to do it, and I haven't read it anyway. So let's do a game I have read.

The Game: The Play's The Thing
The Publisher: Magpie Games
Degree of Familiarity: Not much. I've read it, but haven't gotten a chance to play it.
Books Required: Just the one, though a complete of the Complete Works of Shakespeare doesn't hurt, either.

So, The Play's The Thing came out of the same Game Chef as our upcoming A Tragedy in Five Acts (coming soon from Play Attention Games, Inc!), which was Shakespeare-themed. It focuses on a troupe of actors putting on one of Shakespeare's plays. You make the actors first (so, kind of like It Came from the Late, Late, Late Show, in a way). Before actually playing you decide what play you're doing. The play...doesn't always wind up like it does in the script.

I like this game (at least in concept, though again, I haven't had the pleasure of playing it yet) because it asks something of the players. In this case, it asks that they know at least a little Shakespeare. I'm fine with games that are completely accessible to anyone, but I also don't mind games that ask for a skill set or reward a particular kind of play or are specialized.

'Cause see, here's the thing. There are a million games out there where the pitch is "roleplaying game in [genre] or [setting]", and that means, basically, you romp around, you get in fights, you follow a GM's plotline, but the mechanics don't support the game specifically. Instead, they model shit your character does, with the lion's share of attention on combat. This is the result of our D&D ancestors, and that's all fine, but y'know, we don't have to do it that way. I really feel like story games are a more evolved form of RPG.

Anyway. Making a character here requires I come up with a name and a brief description. I enjoy listening to Patton Oswalt, and I like his acting. He tells a story about bullshitting his way into the Batman Begins premiere and having Brian Dennehey tell him, "Character actors! No one gives a fuck if we're fat!" I want my character to be an older, rather plump character actor - fun roles for him would be Sir Toby Belch, Jacques, one of the two drunk dudes in the The Tempest whose names I forget (which is embarrassing), or, if he's stretching his theatrical muscles, Kent in Lear or Polonius.

My guy's name is Thom Orsino. It's a stage name; he was in Twelfth Night in college and his best friend played Orsino, and then died of an overdose a week later. His first name was Thom, so he took the stage name in tribute to his friend.

So now I do Acting Chops. I have a pool of six points, so I can split up 2/2/2, but what fun is that? I'll put 3 into Logos (which verbal acumen and control over the events of the play), 1 into Pathos (emotional resonance - not Thom's strong point, he'd rather make jokes) and two into Ethos (narrative understanding and setting of the play).

I get a Type, too. Thom's pretty clearly a Ham. His Offstage ability is I can spend a story point to compel another actor to call for him, and his Onstage ability is that I can yell "Cut!" without spending a story point. However, at Director's request, I must soliloquize, which fortunately I'm good at.

And that's it, actually, because the rest of the process would get done in play when we select the Play (and then make it the Thing, I suppose).

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