Houses of the Blooded: Falcon’s Courage

Blooded of the Falcon rejoice! I have made your Virtue cool! Take a look below and check it out.

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Before any ven can take an action that may cause serious physical injury or death, he must first make a Courage risk. Jumping across rooftops, challenging a superior swordsman to a duel, or even flirting with your enemy’s wife. Danger. Injury. Death. Risk.

Most Courage risks are simple risks. The only thing you are competing against is your own fear. Target number 10.

FAILURE
If you fail the Courage risk, a couple different things happen.

First, if the dangerous action you are about to undertake is not a risk, but an action (no dice rolled), you must spend a style point to perform the action. You have to overcome your fear.

Second, if the dangerous action you are about to undertake is a risk, you lose two dice from your pool. Your fear influences your actions.

SUCCESS
If you succeed the Courage risk, a couple different things happen.

First, if the dangerous action you are about to undertake is not a risk, but an action (no dice rolled), you convert your wagers into style (two wagers per style, remember). This represents the panache with which you perform the dangerous action in question.

Second, if the dangerous action you are about to undertake is a risk, every wager you make adds an additional die to your dangerous risk. If you cannot use your wagers in the subsequent action, you can convert your wagers into style as usual.

For example, Shara’s been insulted by Duke Rinheld, a known swordsman of great skill and little mercy. She has a choice. She can accept the insult or challenge the man to a duel. The GM tells me doing so requires a Courage risk.

Shara’s Courage is 3. I get three dice to roll against a 10. I look at Shara’s aspects and find nothing to help me. I get three dice.
Roll. 3, 2, 2. A total of 7.

Because Shara’s next action—challenging a superior swordsman to a duel—is not a risk, but an action, I have to spend a style point to do it. I can opt not to spend the style point and let Shara back down, or I can spend the style point and have Shara slap the Duke’s face.

I decide to spend the style point. Shara has to overcome her fear. That costs her a little. Even if it is a little bit of style.

Another example.

Shara’s been cornered by a jealous Lady Talza. Lady Talza’s swordsman stands behind her, his hand on his pommel. The wife asks, “Did you sleep with my lover?”

Shara actually wants to tell the truth in this circumstance, but everyone is watching. And that swordsman is right behind the Lady Talza. So, the GM says, “Make a Courage risk.”

Again, Shara has three dice to roll. But, I announce that one of Shara’s intentions in telling the truth is breaking Lady Talza’s heart. I point at one of Shara’s aspects. I Know How to Hurt You. The GM admits this is an appropriate aspect. I spend a style point to invoke the aspect (because I already used it at the party once) and I get to roll six dice. Three for my Virtue and three for my aspect. I tell the GM I’m using two of those dice for wagers.

Roll. 6, 5, 4, 1. More than 10.

“Of course I did,” Shara says. “And I have to say, I’ve had more difficulty convincing my butler to bring me a cup of mead.”

Not only does Shara get to do what she wants without penalty, but I get two style points for doing so as well.

ORKS
Some orks have a Terror rank. This represents the terror they invoke. When a character first sees an ork–ripping through the treeline, its jaws drooling, its claws wet with blood–we call for a contested roll. The ven’s Courage against the ork’s Terror. Roll dice.

If the ork rolls higher, the ven loses one die from every risk it takes against the ork. The ven loses an additional die for every wager the ork made with its Terror roll.

If the ven wins, he gains a number of bonus dice in every risk he takes against the ork equal to his wagers.

__

I think I finally got it.

Anyone who takes Strength or Cunning or Prowess as a weakness is at a serious disadvantage. Now, whoever takes Courage as a weakness is also at a serious disadvantage.

But the advantage is there as well. Its no wonder the Falcon are who they are. They’ve got Courage on their side.

Houses of the Blooded: Colors

Black
“I am veiled by my shame.” 

For the ven, wearing black is a symbol of shame. The ven word dulla (doo-EE-ah). Best translated as “veiled.” You may also translate it as “invisible.”

Criminals wear black. And no-one speaks to them. No-one helps them. No-one pays attention when they’re being mugged.

Dulla.

Nobles hire personal guard. Personal guard do not use swords. They use spears. To hide their identity–and their shame–they wear masks and black robes. At parties, everyone ignores them. No need to point out another ven’s shame. He’s already being punished enough. Mercy is a virtue, after all.

Enemies deserve no mercy, but that’s for revenge.

So, no black. Sure, you can have black boots and black gloves. That’s fine.

Red
“Get out of my way.”

Red is the color of passion, the color of romance, the color of revenge.

Romance. Revenge.

In the ven language, romance and revenge are the same word, differentiated only by stressing different syllables. The word itself means “obsession.” Red is its color.

Wearing red indicates to others that you have declared revenge or romance. Or both. We’ll talk about romance and revenge in a moment or two, but for right now, what you need to know is this. Nothing stands in the way of revenge or romance. No law, no ven.

Nothing.

Grey
“Tears are not enough.”

Grey is the color of mourning, but for the ven, death has a deeper, more tragic meaning. For most human cultures, we assume an afterlife. The dead are not truly gone, only waiting for us on “the other side.” But for the ven, death is the End. The ven do not believe in a soul or an afterlife. Solace, at least, holds some kind of promise, but death holds no promise at all. See Death for more information on grief and mourning.

Green
“Spring is in my veins.”

For the ven, green is a color of youth. It is the color of spring, vigor, lust, and strength. Pillow books also use it to symbolize characters who are particularly naive. It is also associated with generosity.

The young have yet to learn the blessings of selfishness.

It is also the color of sincerity, renewal and rebirth. Because it represents renewal, the ven also wear green when seeking forgiveness, giving it a strong association with regret.

To understand we have done wrong, we must put aside what we think and remind ourselves of what we know.

Blue
“I want to know.”

Blue is the color of wisdom. As wide is the sky, so is all a child has to learn. Blue and green are common color combinations.

I have learned much, but there is still much more to learn.

Both male and female children wear blue. Older ven wear deep blue robes symbolizing their experience and knowledge. The deeper the color, the greater the wisdom. As the sun reaches the west, so grows darker the sky.

Wearing blue—especially darker colors—invites questions and debate. The color also communicates “I want to learn.” At ven parties, I imagine seeing rooms filled with ven wearing blue, all in various hues and shades, debating all kinds of topics. Of course, choosing which hue to wear is important. Safe to wear a lighter color than you think you deserve to wear. Then again, who ever accused the ven of being safe?

Lavender
“Entertain me.”

Lavender is the party color. Enjoyment. Delight. Not as intense as red (see above), purple is the color of idle enjoyment. Theater seats fill with lavender. Reclining in parlors. Whimsy. Foolishness. Simple pleasures.

An undemanding color. Disarming. I am playing the game, but not for keeps.

White
“I am ready.”

Solace is the inevitable. Ven wearing white are preparing for solace. A symbol of serenity and patience, those who wear the color of solace are ready for their end.

Wearing white can also symbolize that a beloved relative or friend is passing into solace (or has already passed). Doing so shows your thoughts are with them as they enter eternal slumber. Some mystery cults encourage their members to wear white from an early age, signifying the long preparation for the great sleep. Others weave small white fabrics into their clothes as they age, eventually replacing their colors with pure white.

Brown
“I am not playing the game.”

Many ven don brown for the sole purpose of remaining outside the various machinations and plots of their neighbors and kin. Brown is the color of soil. Labor. “I am too busy to play.” Brown is also the color of “honest work.” Although the nobility would never admit it, an unspoken truth lingers here. An acknowledgement that all play and no work lets civilization fall apart.

Brown also carries the connotation of the unblooded. Many nobles wear brown to show an appreciation for the labor of the unblooded, a respect for the underclass. Controversial, at least. Scandalous at best.

___

Missing colors: orange and yellow.

Any other suggestions?

Houses of the Blooded: “Everybody Wants to be Mr. Black”

I may have mentioned this. I don’t remember.

For the ven, wearing black is a symbol of shame. The ven word dulla (doo-EE-ah). Best translated as “veiled.” You may also translate it as “invisible.”

Criminals wear black. And no-one speaks to them. No-one helps them. No-one pays attention when they’re being mugged.

Dulla.

Nobles hire personal guard. Personal guard do not use swords. They use spears. To hide their identity–and their shame–they wear masks and black robes. At parties, everyone ignores them. No need to point out another ven’s shame. He’s already being punished enough. Mercy is a virtue, after all.

Enemies deserve no mercy, but that’s for revenge.

So, no black. Sure, you can have black boots and black gloves. That’s fine.

No black. There’s a whole spectrum of fun colors. Time for gamers to discover them.

(This entry was, in no way, inspired by my own experiences at Vampire LARPs. No, siree.)

Houses of the Blooded: Economy (full)

For this section, I’d like questions. Lots of questions. The more you ask, the more details I can add, the better idea I have of how ven economy (and much of its culture) really works.

Let’s talk about money.

___

Ven economy is, for lack of a better term, bazaar. I mean, it’s bizarre. Okay, it’s actually both. The ven never hit mercantilism the way Europe did.

(Mercantilism, by the way, is the economic philosophy based on scarcity of resources. It teaches us that there’s a limited amount of worth, therefore, you must gather as much wealth as possible. That’s why the monarchy and other nobility hoarded gold: there’s only so much of it, and if you have the most, you have the power. It also teaches that the global volume of trade is unchangeable. In other words, value does not adjust based on supply or demand. Now, this is a very simplistic definition of mercantilism, but it illustrates the point well enough.)

The ven have plenty of gold, silver and other precious metals. The sorcerer-kings set up mining operations making it easy for the ven to acquire all the gold, silver and stone they need. Likewise, the jungles provide food, lumber, and other resources. The ven lack for nothing. Everything is there for them. All they have to do is go out into the hungry world and get it.

In other words, in ven economic philosophy, value does not derive from materials, but from pruvst: labor.

Now this provides a bit of a problem for the nobility. After all, if all value is derived from labor, that implies the working class is the source of all value. Of course, you can see where this is headed.

And those of you who don’t know, yeah, that’s exactly where it went. But that’s for another day.

The ven do not have any form of currency. No cash, no coin. Instead, what the ven have are contracts. Agreements to perform. “I make you a sword, you feed me for a year.” Remember: the ven understanding of value comes entirely from labor, so to the ven, “currency” is the agreement to exchange labor. This is how they see the feudal contract. Nobles agree to protect the peasants (“protect” being their labor) and the peasants agree to serve.

This is one of the keystones of ven culture. The only thing in the world that has any true value or worth is labor. Not gold, not water, not iron. Because without the hand to lift, without the mind to work the machine, without the body doing the work, nothing else in the world has any value.

Let’s take a look at the ven economy from three points of view. We’ll start with a typical noble, then look at a merchant, and finally, we’ll talk about how money affects a peasant’s life.

NOBLE
Shara Yvarai never pays for anything. After all, to their peasants, she provides a valuable labor. She can go to a blacksmith and demand a new sword, go to a farmstead and demand food, go to a leatherworker and demand new boots. She provides a valuable service: she protects them from orks and neighboring nobles looking to take over the land. Because of her generosity, because of her kindness, because of her compassion, Shara’s people love her and gladly exchange their labor for hers.

The only thing that matters to Shara—from an economic point of view—is her harvest. Because of the feudal contract between herself and her subjects, she retains a majority of their labor. They pay her in spices, wines, food, lumber and stone: the fruits of their labors. She uses those to make contracts with neighboring nobles, hire personal guards, sheriffs and other officials to protect her roads and villages. She also uses it to expand her domain. A stronger domain leads to more security for her subjects. More security leads to happier subjects.
When outside her domain, Shara’s in a bit more trouble. As a noble, she’s expected to protect the peasants of other domains, but up to a point. The law is specific: a noble is obliged to protect the serving class as long as it does not bring danger to himself. Of course, this specific law is pretty vague on what “danger to himself” means.

Also, she may be in a bit of a pickle if she tries demanding service from peasants and merchants not under the labor of her protection. The unblooded are under obligation to provide for the needs of foreign nobility “so long as it does not put an unreasonable burden upon the peasant.” Again, the term “unreasonable burden” is left up to interpretation.

If a foreign noble goes to a merchant, tradesman, craftsman or peasant and demands service, the peasant may answer, “I am already under the shadow of my lord.” This indicates he cannot cease his current service and the noble has to find peasant to bully around. Of course, the noble can answer such insolence with violence… at a risk. More on that in a bit.

But let’s go back to Shara’s own domain for a moment. A noble has the authority to “protect” his subjects any way he sees fit. If that means fire and pain, he’s within his rights to do so, but there’s a downside to mistreating peasants. Unhappy peasants lead to subtle revolts. Resource shortages. Spies for foreign enemies. Missing sheriffs. The liege who only uses the stick and never offers a carrot learns this lesson. Sooner than he expects.

Now, for the noble caste, the concept of possession is a difficult one. For the blooded, the law states that you only own what you can keep. Actually, that’s almost verbatim from the legal code. If something is stolen from you, obviously, you weren’t clever enough to keep it. And no ven noble would ever admit to being less clever. An insult to yourself. Admitting you had been taken, fooled, tricked. Never. No, nay never. And so, when items are stolen, the subject almost never comes up. The shame of admitting you’ve been put on the wrong end of a trick, that someone got the better of you, is just too great. Just admit to yourself you were beaten and move on.

As for inheritance, that’s a subject of great debate, even among the ven of this era. What does a ven deserve? A noble cannot simply inherit his land from another. He must fight for his lands!

Blood makes the soil rich!
Blood makes the soil rich!
Blood makes the soil rich!
Blood makes the soil rich!

(Remember: the more you say it, the more you must believe it.)
(But don’t overdo it. Style.)

Therefore, when a noble dies, his lands become disputed. Any noble with the strength to take them is fully within his rights to do so. This means the nobles who have an heir in mind put actions in motion ensuring their heir’s success. Of course, just because you have a plan doesn’t mean it will succeed.

And, as Lessons teaches us, you don’t have to be smart to have a plan.

PEASANT
We’ve already spent a little time on peasants, but its worth looking at life in Shanri from their point-of-view.

First off, the peasant class is mostly illiterate. Mostly. There are peasants who can read, but not many, and the nobility doesn’t go out of its way to change that fact. This makes the ven economy difficult—because almost every economic interaction involves a contract. Almost.
Most peasant communities have developed a “share and share alike” economy. The blacksmith repairs everyone’s tools. The farmer shares all his food. The cobbler repairs everyone’s shoes. Hand-me-downs don’t just go from sibling to sibling, but family to family. This is what the ven call tuthallen. I’ve translated this word as “generosity.” The literal meaning is something along the lines of, “What is mine is ours.”
Personal possession is still present in peasant culture, but you have to understand the mindset. For the unblooded, an object can only be claimed if someone else acknowledges it is yours. Your mother passes away, for example, and your father—who inherits all her belongings—gives you her favorite shawl. The community recognizes that shawl as yours.

This brings up the entire notion of inheritance.

But for the moment, understand that among the unblooded, nothing belongs to you unless it has been given to you by someone else. Of course, the sincerity of the gift may go questioned by another, and in that case, the community decides who owns the item.

And by “item,” I mean houses, cows, land, forks. Everything. Possessions belong to the community.

Peasants also spend most of their time toiling away, proving their worth with labor. When harvest arrives, they surrender nearly everything they produce to the liege while he leaves them enough to survive until the next harvest. To be fair, not all lords and ladies are tyrants. A few—a precious few—treat their peasants well. Enough to be exceptions.

But the peasant caste does have enough time to go to town. Each season provides a new opportunity to head to the local village, town or city and trade with distant cousins. Or perfect strangers. Trade is the commerce there. A farmer brings his carrots, peas and ham. A blacksmith has new tools. A carpenter puts up a sign for repairs. Everyone has something to trade. The trick is finding someone with what you want willing to trade for what you’ve got.

The peasant caste trades for tools and repairs. Better tools for the farm, repairs for old tools not ready for abandonment. Most of these deals are made on the spot. Once the trade is made, it’s done. No quibbling, no arguing. Done, done, done.

(That’s the tradition among traders. One says, “Done.” The second echoes his remark. The first says it again. “Done.” “Done.” “Done.” That seals the deal.)

Once a deal is sealed, there is no going back. And because verbal deals are quick, nobody needs to argue over it. If you got shafted, you know to deal with a different trader next time. That’s ven law. Live and learn. And leave me alone.

Long-term deals are also available, but only by contract. Most peasants cannot read, so signing long-term contracts is out of the question. A few bring along a literate relative to look over contracts. Few and far between.

So a peasant’s life is spent in toil and trade. Toil for his labor, trade for his labor. It isn’t a pretty life, no matter how the poets and playwrights try to make it so.

MERCHANT
For merchants in Shanri, the economic situation becomes… a bit murky. Peasants work for their labor. The nobility bleed for their labor. A merchant… he sells the labor of others. Murky.

Ven law has not caught up with the quick rise of the merchant class. Ven who have made a living from the loopholes in the ven economic system. Contracts. It has everything to do with contracts.

The merchant class (not caste) arose twenty years ago when a small group of craftsmen realized their goods were worth more than food. “An apple in the stomach is gone tomorrow, yet my knife cuts more apples,” wrote the merchant Tulthande Shen. He made the connection that his craft remained.

His idea spread quickly, but quietly. Being a ven of half a mind, he knew such an idea was dangerous, so he kept it to himself and a few others. Twenty years later, his circle of friends has grown, but not by much. He remains one of the most powerful and richest ven in Shanri. But his secret, like most secrets, did not stay in its box for long.

The only box that can hold a secret is a coffin.

In the ven era depicted in this game, the merchant class moves closer to eclipsing the nobility. Recognizing goods and services as the prime commodity, they trade for real estate and recognition with the blooded, earning themselves titles, but not the full status of nobility. The “merchant barons” hold lands bartered from nobles in exchange for goods and services, but no noble has traded away any title higher than baron. Not yet, at least. That moment is yet to come.

And no merchant baron has yet to be called “blooded.” For that, a murder must take place.

And so, for the merchant barons, they must be content with their borrowed titles. They own land but cannot pass it down to an inheritor. They have title, but not access to the sorcery of the nobility. They have what might be called wealth, but in fact, they are little more than the peasants they look down upon.

Shluah veth. “Proud dirt.”

Houses of the Blooded: Economy

(this is gonna make

 happy.) 

Let’s talk about money. Ven economy is, for lack of a better term, bazaar. I mean, it’s bizarre. Okay, it’s actually both. 

The ven never hit mercantilism the way Europe did. (Mercantilism, by the way, is the economic philosophy based on scarcity of resources. It teaches us that there’s a limited amount of worth, therefore, you must gather as much wealth as possible. That’s why the monarchy and other nobility hoarded gold: there’s only so much of it, and if you have the most, you have the power. It also teaches that the global volume of trade is unchangeable. In other words, value does not adjust based on supply or demand. Now, this is a very simplistic definition of mercantilism, but it illustrates the point well enough.) 

The ven have plenty of gold, silver and other precious metals. The sorcerer-kings set up mining operations making it easy for the ven to acquire all the gold, silver and stone they need. Likewise, the jungles provide food, lumber, and other resources. The ven lack for nothing. Everything is there for them. All they have to do is go out into the hungry world and get it. In other words, in ven economic philosophy, value does not derive from materials, but from labor. 

___ 

Yeah. Socialist ven. Enjoy it, Jess.

Houses of the Blooded: The Mother of Us All

Hospitality is a powerful concept in ven culture, personified by the figure of Mana Renay. Temples dedicated to “the Mother of Us All” can be found in every city, shrines in every home. She has many faces. Revered matriarch. Protector. Healer. Keeper of hearth Wisdom. Each House views mana Renay differently, but the Hous she claims as her own is the Elk.

For the Steeles, Mana Renay set the sandards for how a House is run. Recognized as the family’s first great matriarch, the entire structure of a House was based on her own. Butlers, cooks, maids and senechals still follow her advice, passed on through oral tradition, recorded in the famous book House and Home. Alongside the proper methods of cooking and cleaning, she also spelled out the rules of hospitality still followed by the ven today.

Blessings bestowed by the Sacred Mother protect those who respect the concepts of manners and hospitality. Those who revere her bring her beloved flower, the acacia, to her holiest temple. Architects and those who cut and work stone also call upon her for favor and wisdom. It was she who sponsored the stoneworkers, building cathedrals and castles all across Shanri.

Relics associated with Mana Renay include her notebook, a handkerchief, and a broken broomhandle. (Some whisper the broomhandle was broken over the head of a disrespectful servant.)

Her compassion and wisdom protects a home from threats both visible and invisible. Those who know her secrets, who listen to her dreams, learn the high holy whispers of hospitality.

___

(Later, the Blessings of the Mana Renay)

Houses of the Blooded: Blood Opera

The high alchemical Art, incorporating all other Arts. Drama. Music. Architecture. Dance.

And, of course, love and revenge.

Ven opera (the actual ven word best translates as “The Art that encompasses all other Arts”) is full of spectacle. Jim Steinman meets John Woo. The thunder of the music cracking the plaster in the walls. Actors bursting their throats, their eyes full of rage and tears. Musicians in the pit, playing furious anger and beautific joy. Choirs chanting choruses over and over and over.

There is no word in the ven language for “understatement.”

Like everything else, the ven are obsessed with the proper presentation of opera. So much so that they only recognize six plots as appropriate to the stage. This requires a bit of explanation.

Think for a moment about our own King Arthur. Just saying the name summons images and names. Camelot, Gwenevere, Lancelot, Excallibur, Mordred, Merlin, Morgana, love, loyalty and betrayal. Arthur’s story has been told thousands of times in thousands of different ways, but the key characters and elements remain. And though storytellers have taken liberty with Arthur’s tale, we accept those liberties so long as the truth of the story remains intact and honored.

When Arthur’s story goes too far from what we expect, we feel betrayed. Not an emotion easily explained. An instinct. An understanding. Almost as if we have to protect the story in some way.

So are the ven and their opera.

Only six stories are worthy of the stage. The ven recognize these stories from the character’s names. Just as we would know the plot the moment Hamlet’s name was mentioned. Or Odysseus. Or even James Bond. And while the plot may weave differently, certain key elements remain. Secondary characters come and go, but the lynchpin personnae remain.

Authors and composers work to re-tell these six tales with different voices, using each to communicate a new moral, a new truth. Just as Arthur’s tale can communicate the conflict of true love and duty, so can it tell the conflict of Christian against pagan. So can it tell the tale of Britain’s natives against her invaders. Just a tweak of the pen and a familiar tale delivers a different message.

So are the ven and their opera.

Lesser tales are delegated to playhouses and street theater. But not the opera house. Not that great and sacred place. Six stories. Only six.

But there are only two endings. Two.

A wedding or a funeral.

Houses of the Blooded: Interior Design

When I needed an interior design for Houses, there was only one man I could go to.

Daniel (effin’) Solis.

Here’s an example why.

Daniel insists this is a “sketch.” Yeah. I can’t wait to see the final version.

You can see more at his own LJ here.

Houses of the Blooded: Aspects, Part 3

Let’s spend a moment talking about bad aspects—and I don’t mean in the sense that they hurt your character. I mean they follow the guidelines for an aspect that isn’t over or underpowered. Let’s take a look at some basic rules.

First, an aspect should do one thing. That’s it. Just one thing.

Second, that one thing should be in regards to a specific kind of risk.

And third, it should sound cool.

Okay, let’s take a look at all of those. And, for the sake of example and clarity, I’ll take a bad aspect and make it into a good aspect.

BAD ASPECT: “I KILL YOU IN THE FACE!”
Invoke: I kill people in the face.
Tag: I can only kill people in the face.
Compel: Make me kill people in the face.

Okay, well, it’s got the cool going on in the title. Pretty extreme. Then again, the ven like extreme. So, the name may have a certain kind of style, but the aspect itself is a bit much. Mainly in that it’s both too general and too specific at the same time. Yeah, that’s a pretty big feat, but there it is.

First off, it’s too specific. I mean, I would accept someone being a great swordsman as an aspect, but just killing people in the face is too specific. At the same time, it’s also too general. I mean, it allows you to get away with killing people with a single roll. No wagers, no nothing. That’s a bit easy. So, no. You can’t have this aspect. But, let’s talk about how to change it to make it a good aspect.

First, I sit down with the player and talk with him about what he wants to accomplish with his character. He tells me the aspect comes from the idea that he wants his character to murder with style. Okay, well, murder is definitely “in genre.” But it’s also a mechanic. In order to kill another character with a single blow, you have to make a whole lot of wagers. Having an aspect that dodges that particular rule is cheating the system and we don’t want that.

Instead, I explain to him that wagers are the way he really wants to go. Wagers allow him to narrate what happens in a fight. True, he’ll need a lot of wagers to accomplish what he’s looking for, but that comes with having the appropriate Virtues, aspects and other traits.

So, instead of “I kill you in the face,” how about something a bit more stylish and less specific. How about something like “This is going to leave a scar?” Or perhaps something like “Deadly with a blade?” Both of those point toward where the player wants to go. Both are also pretty specific. They also don’t point directly to the outcome, which is my chief problem with “I kill you in the face.”

BAD ASPECT: “I RULE!”
Invoke: Invoked whenever I take a risk.
Tag: Cannot be tagged.
Compel: Cannot be compelled.

Okay, this one is just silly. (And I really got it in playtest.) This is just someone looking for a bonus die in every risk he takes. Bad form. Try again from scratch.

BAD ASPECT: MY MOTHER’S DIARIES
Invoke: When I use my mother’s advice from her diaries.
Tag: Anyone who knew my mother can anticipate my next move.
Compel: Anyone who knew my mother can manipulate my motives.

So, this was one of mine. One of Shara’s. Yeah, I made a bad aspect. Early in playtest, I figured out that aspects were very easy to abuse. This particular one I could invoke for just about any risk. So, I decided to change it a bit.

First, I decided that Shara’s mum was good at keeping secrets. (Thus, the secret diaries.) No-one really knew her. Nobody really knew what she was up to. So, instead of mom’s diaries giving me bonus dice under just about any situation, I figured I could invoke it for the purposes of discovering other people’s secrets. Shara discovered mom’s diaries, after all. They symbolize her ability to see through people’s facades and get right to the heart of the matter.

At the same time, I thought about the tag and compel. While they seem pretty general, they are actually pretty specific. I’m kind of safe with “people who knew my mom.” She’s dead and long gone. So, what I do is talk to the GM. I tell him about the aspect and let him know that this is me inviting trouble. Also, remember that one of the plotlines I’ve outlined for Shara is finding out who killed her mother. So, the deeper into the mystery she goes, the more people she’ll meet who knew her mom.

Yeah. I’m asking for trouble.

I tell the GM that and he’s cool with it. If he had said, “No, that’s a bit too specific,” I would have conceded. After all, it is. But the GM assures me he has a plan. I fully expect Shara’s plans to come crashing down at exactly the wrong moment… because of my aspect.

So, Shara’s aspect looks a little more like this.

Invoke: When trying to learn other people’s secrets.
Tag: Anyone who knew my mother can anticipate my next move.
Compel: Anyone who knew my mother can manipulate my motives.

BAD ASPECT: STRONG
Invoke: Bonus dice when trying to lift, tear, rip or do other feats of strength
Tag: Cannot be tagged.
Compel: Sometimes too strong for his own good.

This one is tricky. Obviously, the Strength Virtue already covers this ground, but the compel is interesting. I recommended taking an aspect called “Big as an Ox.” You can find it as “Large” in the sample aspects below.

BAD ASPECT: OBSESSED SORCERER
Invoke: Bonus dice when using sorcery.
Tag: Cannot be tagged.
Compel: I want to learn more about sorcery and will ditch other plans to learn it.

The only problem with this aspect is that players don’t roll dice when using sorcery. Either you know it or you don’t. The fix here is getting the player to drop the invoke and keep the compel. Otherwise, I dig it. It allows me to throw hurdles in the player’s way. Also, the player is telling me, right on his character sheet, exactly the kind of game he wants to play. He wants to discover new sorceries. That’s cool. I did the same thing with Shara. And if he can figure out a way to add a tag, I’ll let him.

Okay, one last bad aspect.

BAD ASPECT: DUTY TO MY LEIGE
Invoke: When protecting my liege, I get bonus dice.
Tag: When taking risks that are not protecting my liege while my liege is in danger.
Compel: I have to stop what I’m doing to protect my liege.

This one almost makes it. It’s real close. The tag and compel are neat, but the invoke is too general. Remember: aspects should cover a single kind of action. “Protecting my liege” can be interpreted a bunch of different ways, so I ask the player to narrow it down.

How about “When standing by my liege’s side, protecting him from harm, I get a bonus die?” That’s pretty specific and it does what she wants. It gives her bonus dice to protect your liege lord. Also, she can’t use it when she’s killing assassins or orks out in the countryside who aren’t even close to her liege. After all, she is protecting her lord… indirectly.

She decides she wants to change the name now that we’ve changed the aspect. She picks, “I stand by my liege.” We change the invoke and now we’ve got a working aspect.

* * *
Making aspects work is an important part of the game, but don’t make it a buzzkill. A cool aspect can make all the difference in the way a player looks at his character. Just remember the guidelines.

An aspect should do one thing. That’s it. Just one thing.

That one thing should be in regards to a specific kind of risk.

And, it should sound cool.

__

PS: I KILL YOU IN THE FACE!!!

Houses of the Blooded: Aspects, Part 1

In this chapter, we talk about aspects. How they affect the game, how to tell a good aspect from a bad one, and I’m gonna give you a whole ton of example aspects. But first, a short history lesson.

Aspects were first presented to me in a game called Spirit of the Century. Spirit uses an open license game engine called “FATE.” It was written by Robert Donoghue, Fred Hicks, and Leonard Balsera. (FATE itself was designed from another game called FUDGE, written by Stephen O’Sullivan.) You can find a link to the open source documentation at the end of this book. When I saw how aspects worked for the first time, I was excited. Aspects made sense. They were also the missing link in making this game, fulfilling one of my most crucial goals: getting rid of ambiguous and abstract elements from my anti-D&D RPG.

With aspects, a player doesn’t just choose from a list of skills, he has to think about who his character is. He has to think about where she came from, who she knows, and what she’s learned. In other words, aspects were anything but abstract. They represented the character’s real experiences and the skills, talents an abilities she learned from those experiences.

That’s what you should be thinking about when you create your character’s aspects. Not just who your character is, but how it all happened, when it happened, where it happened and why it happened.

Of course, with most RPGs, we have some sort of abstract skill system that implies these questions, but the system itself does not put you in the position of having to ask them.

So, with all that in mind, exactly what makes a good aspect? Let’s start by building one from scratch. A Name, for example. In fact, let’s build Shara’s.

Your Name
Names have powerful symbolic and supernatural influence over every ven. Shara is no exception.
When designing Shara’s Name, I have to ask three questions: how the Name can be invoked, tagged, and compelled?

Invoke
Invoking your Name gives you bonus dice for a particular risk. For example, Shara’s Name means “veiled rose.” I could draw all kinds of meanings from that esoteric phrase, but the one meaning I choose is that she’s damn good at keeping secrets. So, when she’s doing just that, I can invoke her Name and gain bonus dice for my risk.

Now, this is important. Remember that invoking your Name gets you bonus dice for a risk. If you aren’t rolling dice, you aren’t invoking your Name. Also, you may only invoke your own Name. You can’t invoke someone else’s.

Tag
When another player (or the GM) tags your Name, they get some sort of advantage out of it. This is when they are using your own Name as an advantage against you in a risk. Again, this is important. Unless someone is rolling dice, they cannot tag your Name. Tagging an aspect only comes into play when rolling dice. If you want a narrative advantage against someone, you compel their aspect. You can read about that below.

Also, you cannot tag a third party’s Name for an advantage against someone else. I don’t exactly know how this would work, but one of the playtesters asked if they could do it, so I’m putting it in here. If one person thought of it, someone else must be thinking it, too.

Using the above example, let’s figure out how Shara’s “veiled rose” can be used against her in a risk. This is someone taking some kind of risk against her, rolling dice, looking for additional advantage. In this case, I define that advantage as “untrustworthy.” In other words, Shara keeps her cards close to her chest. So much so, that sometimes she appears just a little too secretive to be trusted. When Shara is trying to make a case for relying on her word, someone can tag her aspect, veiled rose, and gain bonus dice. Why? Because she’s just a little too veiled to trust.

Compel
When folks invoke and tag aspects, they get bonus dice, but compelling an aspect is a bit more direct. In other words, tagging and compelling are mechanical advantages and compelling is a narrative advantage. (Or, in your case, a disadvantage.) When someone compels your aspect, it limits your ability to act. But the real trick here is this: both you and other players (including the GM) can compel your own aspects.

Using the above example again, someone can compel Shara’s “veiled rose” aspect to make her act a certain way. I have to come up with how that would work. After some thought, I come up with the answer. Again, this time, it has to do with trust.

Shara does not trust people. Her mother’s journals and her father’s behavior have taught her that those around her are weak. With the sole exception of her mother, of course. For Shara, weakness is like a disease. If you get too close to it, you can catch it. So Shara doesn’t let the weak get close to her. She doesn’t allow herself to trust.

Compelling Shara’s “veiled rose” aspect means she won’t trust you, no matter what you say to her. Because this limits her behavior in a specific way, it is an appropriate way to compel her aspect.

Now, other people can compel her aspect to make her not trust people she should. Or, I can compel her aspect to force her not to trust people I feel she should not. Both are viable options. I can even compel Shara’s aspect just for dramatic effect. Remember, the ven love drama. So should you. Putting your character directly in harm’s way, or even losing a small advantage, is good form. And you’ll be rewarded for it.

Compelling an aspect is narrative, not mechanical. By that, I mean that you don’t get any dice for compelling someone’s behavior. Also, you cannot compel someone while they are taking a risk. Risks must resolve themselves out before you can try compelling someone. All the dice have to be rolled and all the wagers have to be spent before you can compel an aspect.

To be clear on this issue—which is rather important—do not mix tagging, invoking and compelling. This way leads to madness. One thing at a time, each thing in its own time.

So, with all that in mind, how is your Name invoked, tagged, and compelled?

Choices
When building an aspect, you have three choices. Like I mentioned above, aspects can be invoked, tagged, and compelled… but you don’t have to have all three. You could choose just two or even just one.

  • You could choose an aspect that can only be invoked, tagged or compelled.
  • You could choose an aspect that can only be invoked and tagged. Or tagged and compelled. Or compelled and invoked.
  • Or, you could choose an aspect that can be invoked, tagged and compelled.

All of these choices are valid, but there’s a benefit for how many choices you include in your aspects.
Aspects get you bonus dice when taking risks, but how many bonus dice depends on how “deep” your aspect goes.

  • If an aspect can only be invoked, you get one bonus die when you invoke it.
  • If an aspect can be invoked and tagged or invoked and compelled, you get two bonus dice when you invoke it.
  • If an aspect can be invoked, tagged and compelled, you get three bonus dice when you invoke it.

It’s up to you how deep you want your aspects to go. No rule says all aspects have to go three deep. If you want an aspect only you can play with, go for it, but you’ll only get one die when you invoke it. If you want a bigger bump from your aspects, you’ll need to add tagging and compelling to them in order to get the big dice.

Limits on Invoking
Here’s an important rule. Aspects may only be invoked once per adventure. Once you use an aspect, you can’t invoke it again until the adventure is over. Not unless you’re willing to pay for it.

You can refresh any aspect by spending a style point. That allows you to invoke it again. You can refresh aspects as many times as you like as long as you have style points to do so.

The Reward of Tags and Compels
Whenever someone tags one of your aspects, they gain two dice to use against you on that particular risk. You, on the other hand, get a style point. You cannot use the style point during that particular risk—you have to save it.

Likewise, if someone compels one of your aspects—even if it is you—you gain a style point. Now, if someone compels you in a way you don’t like, you can cancel that compel… but it costs you a style point. So, you can either go with the flow and take the disadvantage you asked for to begin with when you made the character or you can be a snotty brat and spend your style point to ignore the compel. It’s up to you.

(End of Part 1. Tomorrow, we’ll talk about the Houses, their Names, and how you can invoke, tag and compel them.)