For the last few months we’ve been considering character Archetypes, what we can learn from these as Christians, and how we can use them to express our faith in our games. There are quite a few more we could cover, based solely on what someone has dubbed the professional archetypes, and it has been mentioned that there are other categories of archetypes, such as role archetypes and personality archetypes. Originally when the idea was proposed, it seemed as if the phrase archetype was being used to avoid saying the rather loaded word class, but discussions have clearly shown the breadth of meaning the term has, and it could be a long series if we tried to cover all of even the major ones.
Thus this month we will look at one more, and then we will move away from this line for a while and cover a few other ideas that have been simmering for a while. I have dubbed this one Holy Men because I have not found another word. Read more
Role playing games take us to other worlds, other times and places, some which were, some which might have been, some which yet might be, and even some that could not, as far as we understand, be. Because of this, they also challenge us at times to wrestle with answers to questions of morality that are not our own. In an age in which it was common, was polygamy wrong in the eyes of God? Would it be wrong for a human to eat an intelligent creature who is not human, given that it was as intelligent as a human but truly not related in any way that would make that cannibalism? Issues are raised in our games at times that don’t come up in our lives, because we don’t live in those worlds; yet we manage to find answers to these questions, and so come better to understand our own moral values.
Slavery is one of the more difficult and more common issues that arise in our games. Read more
Trickles of sweat stung his eyes and slowly worked down his back. This jungle wasn’t anything like the New Jersey Pine Barrens he grew up in. He viewed the dark with the special night vision goggles that made everything look like some bizarre green seascape. Ten years as a city cop had not prepared him for humping through a tropical rain forest. “Pepsi, check, over…” He was supposed to observe radio silence but hearing a friendly voice helped take the edge off. ‘Pepsi’ Kohler was a lifelong friend and a former Marine, a comforting companion for his first night on patrol.
“Check, Woody, wait one…,” came the reply. There was an edge to the brief transmission. Woody Marks quickly turned and began scanning in the direction of his teammate. Still a novice with the NVGs, he suffered a temporary green out of his vision as he scanned right over the team’s campfire. With a muffled curse, he pushed the goggles onto his forehead and searched the night with his naked eyes. He spotted Kohler on one knee, 40 meters away, SMG at the ready. Woody followed Pepsi’s line of sight, trying to see what had spooked him. A hint of movement in his peripheral vision brought his attention back around behind Pepsi. The biggest, meanest looking Bengal tiger Woody had ever seen was stalking his friend! Read more
This article by Charles Franklin originally appeared in The Way, the Truth & the Dice issue 1 in the spring of 1999. It is reposted here with permission from the author.
I was watching a classic science fiction film this weekend with my four-year-old son and one scene in particular emphasized the way combat is portrayed in movies and in our games. In this particular scene an alien, accompanied by a starship pilot and a teenager, wander into a detention zone where a firefight erupts with the evil military police. Now granted, the threesome had the element of surprise, but when the shooting starts they calmly go about their business, zapping security cameras and bad guys with amazing accuracy. Meanwhile the trained military police cant seem to hit anything. Common sense tells us that this is a less than accurate portrayal of how this firefight would occur, and I think everyone realizes that Hollywood takes great liberty with reality in their action movies. This cinematic liberty carries over into RPGs that for the most part seek to model movies, not reality.
The purpose of this series of articles is not to open a debate about the glorification of violence in popular movies and role playing games. I do believe, however, that adding a dose or two of reality to our game mechanics will reduce the quantity of violence and increase the quality of role playing. I see this as a win-win adjustment.
In ages past, when the Harbingers made landfall at Cloudhead, they brought the GIFTS with them. Since that day, people in the solar system have discovered special abilities given to them. The GIFTS were to help the people thrive together and to fight against the evils which had implanted themselves into the solar system. People bearing similar GIFTS gathered together and formed what now are referred to as Houses. These Houses are not geographical distinctions, but rather talent distinctions. There are 12 Great Houses representing the most prominent GIFTS. There are unrepresented GIFTS, but they are exceedingly rare.
The Houses function like churches. The Houses are most like religious organizations and all share the same faith but pursue the tenets through the GIFTS they have. There are different sects within each House but they largely share the same principles and work towards the same goals. Read more
Now that we have good players, heroes, and villains, we have to put them to work. A campaign is an ongoing series of adventures in a game world, made up of several ingredients. First, the campaign’s premise must be sound. Good campaigns are consistent with the world you adventure in and have clear and worthy objectives. A good campaign is built from a good premise. “What if” questions are good starting points for finding a good premise. What if aliens secretly contacted Earth governments during the Wild West era? What if superheroes were all created by a single time-traveler? What if the barriers between dimensions begin to break down? Take the basic premise, and follow it through in as much detail as desired. Read more
SPIRIT is a new stat in LitC. Spirit reflects a character’s growth and presence in the spirit world. SPIRIT works much like CONSTITUTION except it applies to SPIRIT damage, which adds STRESS to a character. SPIRIT attacks seek to break a character (see FLIPPED OUT under STRESS). At that point the character is susceptible to manipulation and/or compulsion. A functional spiritual entity may be content enough to drive a character away. Malevolences will often seek to possess or consume a compromised character. A character with a high SPIRIT score has a hardness versus SPIRIT damage according to their bonus.
Similarly a character adds a bonus to SPIRIT damage dealt to spiritual entities.
Losing SPIRIT can happen through inaction in adventures. A critical event that a character chooses to avoid, most often having moral or ethical implications, will cause a loss of 1 point of SPIRIT. Much like an alignment shift in other games, it should be made clear to the player that a loss of SPIRIT will occur if they choose inaction in an important moment.
Playing good characters is another important aspect of role-playing games. Although a good GM and good players can have a good game with bad characters, it’s much easier to have a good game when the characters are good. When players create heroes, it is far easier to have fun and eliminate many of the conflicts that often arise as a result of good role-playing. A group should be well rounded with well thought out backgrounds and personalities.
Alignment in Lands in the Clouds is simplified with an optional rules mechanic of Soul Points and Rage Points. The other distinctions are left to the character in-game as benevolence or malevolence as defined by their actions. Every adventure has opportunities for characters to change their outlook. Aspiring towards benevolent goals in critical moments may reward characters with a type of bonus GRIT. In a setting where the spirit world is close at hand, the condition of a soul is harder to hide and is defined by action, not just outlook.
SOUL POINTS and RAGE POINTS are optional and can be excluded if the rules are cumbersome.
Characters that complete crucial SOUL POINT goals gain 1 soul point. SOUL POINTS can be used in place of GRIT for critical successes in most situations unless the action is knowingly evil in nature. They are also used to power GIFTS. SOUL POINTS are also first consumed in spirit based attacks before any other damage can be dealt, so they act as a type of hitpoint for encounters in the spirit world.
RAGE POINTS are generated any time a character suffers a critical attack or fails at a SOUL POINT opportunity. RP can be spent on critical successes as SOUL POINTS, but not GIFTS. They can also amplify damage, adding 1d6 damage per RAGE POINT to damage of successful attacks. The danger of RAGE POINTS are how they are amplified with STRESS and more vulnerable to manipulation.
Any time a character’s RAGE POINTS exceed their wisdom, they seek to unload the overwhelming emotional duress. Any time there is contention, make a Willpower saving throw based on the number of RAGE POINTS + STRESS. Success, the character keeps it bottled up. Failure results in the character in lashing out at the one with whom they are in contest. A second Willpower save that is successful means that the character can limit their anger to a verbal tirade or general insults. Thereafter their opponent reacts to them as 2 steps lower in reaction. That may result in a fight, which is ultimately what the character seeks. A critical failure on this save means the character has snapped and physically attacks their opponent. If their opponent is a friend, they may channel their anger to an inanimate object if a second will save is successful.
The Lands in the Clouds setting and the GRIT system are provided as a showcase of the work of a CGG member. The Guild takes no official position on the suitability or appropriateness of any game or supplement.
More than two decades ago now, before I’d ever heard of role playing games or Dungeons & Dragons™ or the hobby game industry, I took an undergraduate course in creative writing, specifically writing fiction. I suppose I had some distant dream of retiring and writing the next great fantasy novel, and I thought this would help. It was a wonderful class, and I gained much from it.
Periodically we were required to write short pieces which would be as fragments of a story—descriptions of scenes, action sequences, and similar bits. One of these was an internal character sketch. To explain, when we read books there is always a perspective from which we are told the story. It can be an external perspective, as we would have watching a play or film, seeing everyone’s actions from the outside. But books permit us to come to the story from the thoughts, feelings, and perceptions of one of the characters, to know not only what happened, but how it affected this individual. So it is possible to describe a character externally, telling what he looks like, how he dresses and moves and what he does; but it is possible to describe a character internally, considering how he sees himself, how he reacts and what goes through his mind that leads him to the choices he makes. Read more