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Levi Kornelsen
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I have seen a few people hoping that being a woman will be more of a shift than the usual for a regeneration, and needed to bite my tongue. Because I want the new Doctor to just, you know, be the Doctor and get on with it for the most part - and I think that would also be the stronger statement on the "Time Lords are past all that".

But I'm open to being wrong about that.

About the Doctor:

For all his flaws as showrunner, Moffat didn't flinch on laying the ground work for the gender switch.

Still, I'm pleased it'll be someone else actually running it.

If this is true:
Most statements about one's actions are rationalizations of current or past behavior, rather than reasoning which prompts it.

Then is this true too?:
Social media is chock full of people advertising "these are the things I think I need to rationalize".

ENnies season, huh?

Well, I read Blades in the Dark during the last year, and I ran Schema weekly, plus a few tests of other stuff of mine. I also might have been finishing up a D&D campaign right at the start of the year. Oh, and I went to a couple Larps.

Yeaaaaaah, this has not been my year for meeting new game product.



Larp drills I'm thinking on for the game +Kimberley Lam​​ and I are running, just to exercise the specific muscles of the game.

1. This special day
Say to yourself what the event is (the county Fair, the dust storm, whatever). Say what your archetype is (I'm the mechanic, etc). Decide how you feel about that event, what you think you should be doing in it. Now make a list of what you actually want to do.

2. Stepping up
Write a scene tag, go to a spot, and stick it there. Decide how you feel, and what event made you feel that way. Call someone to your scene; in one line, tell them what's up with you. They get one line to react.

3. Thirty seconds to murder
Pick a partner. With each of you saying only one sentence each at a time, start a conversation. Every sentence should escalate from the last, getting worse and worse. Scene ends when one participant says "murder", as in "I snap and become violent".

4. Voice-over-and-out
Pick a partner, and deliver one line (with mime or gesture). They must then take a step back and, as if narrating their history, end and explain this in three sentences or less.

Post has shared content
Yeah, this one.

For Schema 2, the boon list!
(Some irregularities in rules still to even out, but I think the overall set is pretty solid.)

A boon is an advantage that's partly external to the character, such as money or social position. The default rules for a boon are:
♦ Boons are not required; a character with no boons is not strongly positioned in society.
♦ A character can have multiple boons.

Options specific to boons include:
♦ Boons are not treated as traits at all; they are gained and lost through play (including on rolls). The Guide may or may not allow each player to take one, but independently of traits (since they can be lost).
♦ Each boon is given a pool of tokens for itself; these are spent to invoke it and must be refreshed independently by some means the Guide names.
♦ Boons affect the group, rather than an individual; they are “group traits”.
♦ All three of the above options are in use, but some individuals can take boons as lasting traits. If they do so, however, they cannot take feats or knacks (this is best combined with feats and knacks also being exclusive, and creates three “classes” - magician, hero, and noble).


WEALTH
You possess both ready money and an ongoing income. In any open market, you can acquire minor items easily. Invoke this boon in to:
♦ Acquire a scarce item.
♦ Make payment on a larger buy.
♦ Pay a notable wage or sum.

LINEAGE
You are descended from a deeply noble or magical legacy. Magical beings will treat you as an equal, and you can invoke this boon to:
♦ Catch the attention of any crowd.
♦ Be recognized by any noble.
♦ Play style on any applicable roll.

CONTACTS
You correspond with many contacts. In any settlement that correspondence reaches, invoke this to declare that you have a contact there; the Guide states who, and what they have written about the area.

BENEFACTOR
You have a powerful backer of some sort, created with the Guide. Those aware of this backer may know of this, and treat you accordingly. Invoke this boon to obtain a minor favour from that benefactor while contacting them.

PRIVILEGES
You hold a post such as priest, bard, or diplomat, which enjoys special rights, usually free travel, freer speech, and immunity from some forms of prosecution. Discuss this role and rights with the Guide before taking this boon.

REPUTATION
There are stories about you that portray you in a specific positive way; state what this is when you take this boon. False negative rumours about you die away quickly; even true misdeeds will only poison your good name slowly.

UNDERLING
You have a sidekick, squire, butler, or other assistant. Their pay or other arrangements are entirely taken care of, and they are fully loyal to you. They are competent, but not exceptionally so.

ESSENCE
You have reserves of magical power available to you. Invoke this boon to refresh any knack or magical ability if one is exhausted. If trait invoking is being powered by a pool of points, you have an extra point instead.

Tagging also: +Tarrant Kwok, +Kimberley Lam

Characters advance in most stories by becoming more mature at least as much as by becoming more powerful.

Is this best represented, in traditional RPGs, by "I have more control over my existing cool stuff"?

This might mean the stakes on rolls shift, or might mean you have more skill numbers rather than more power numbers, or both.

It's certainly the superhero arc; getting control over your powers.

Tried watching the new Twin Peaks; couldn't get into it.

Flipped on True Detective instead, which I never saw. Turns out that was what I wanted.

Tragic is to Tragedy as Heroic is to the Hero's Journey
(Made a collection for this series of thinky-things).

So, having laid down a bunch of plot structures and done some chatter about how they could be made to work in an RPG, here's a thing:

A game can be tragic in that the plot of the tragedy will naturally come out of play, in whole or in part, because of the superstructure of the rules, just as many games are heroic in the sense that large parts of the heroes journey are built into the rules (most of these are also heroic fiction in other sense too, natch).

If this were engineered in an open rather than restrictive fashion, it could also open the door to some form of anti-tragic play, just as D&D leaves the door open to anti-heroic play.

What I mean:

The X-Files as a form of anti-tragedy.
The protagonist, Mulder, has made an incautious pact with that dark agency, the Truth. In doing so, he seeks to upset the natural order (secrecy). Each time he reaffirms this commitment, things seem to go well for a time, and then his actions upset that which should not be upset. As he commits further and further to his terrible actions, his enemies multiply, slowly forming alliances bent on his destruction. However, it goes off plot in that Mulder continues to evade the natural end of tragedy, to see the error of his ways, and refuses to give himself up to the natural order or to destroy himself.

(Cthulhu already works this way, roughly and arguably.)

Anyway, just mulling on that.
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