Houses of the Blooded: No Moon

(a segment from the GM chapter. an adventure seed.) 

No Moon
Dark Night. No Moon. The blackest night when the suaven’s whispers turn mad.

Everyone gains a new aspect: Suaven’s Whispers. There is no invoke, only a tag and compel. The tag is equal to the ven’s Devotion. The compel makes you act like a lunatic, throwing away all reason, all sense, embracing the dark shadow of your suaven.

Followers of the Sacred Harlot become lustful beasts.

Followers of the Bloody Wolf become bloodthirsty animals.

Followers of the Falcon’s Friend become impudent fools.

Followers of the Mother Bear become over-controlling prigs.

Followers of the Cold-Hearted Elk become even more emotionless and ruthless.

And followers of the Wandering Wise One become something so dark, so sinister, it may not be spoken. 

For one night. No Moon.

At least once a Year.

Houses of the Blooded: The Midnight Game

This is best to use when you’ve just finished a party. A buddy of mine called it “The Rosencrantz & Guildenstern Game.” The ven called it “The Midnight Game.”

When the nobles go to bed, the servants come out to play. Their masters and ladies are all asleep (or pretending to be asleep) and that affords the servant class an opportunity to let down their hair.

Nearly every lord or lady has a maid or valet. (Even if they don’t have the Vassal; that just means your maid or valet isn’t cool enough yet.) Write down your maid or valet’s name and throw all those names at the GM. Then, the GM throws all those names in a hat and everybody draws one. If you draw your own, throw it back and pick another.

For the next game session, you play a maid or valet to one of the other nobles. Moving around the house by candlelight, meeting with other servants for less-than-honorable purposes, spying on other nobles, carrying out illicit affairs.

Spend a whole game session on the vassals. If your GM is generous, he may even allow you to elevate a vassal to NPC status. If you are all very good.

I mean bad. Very, very bad.

Houses of the Blooded: Larp, Episode 1

Attended my first Larp in… (counting) … almost a year.

Things were going as I planned. First game, very friendly. Sniffing. Brought a pretty girl in a skirt. That always helps. She had more notes than I did.

I liked how the ST gave us rumors based on our Influences.
I liked how the ST made sure–immediately–that I was thrown into the storyline. A hunter with a photgraph of me gets himself caught. First night, I’m already involved.

The game is small. Only a dozen people. Giovanni game.

We were two anarchs. We were polite and asked many questions. By the end of the game, at least two Giovanni went to the don and told him we had to be killed. “They’re too smart.”

A nice compliment.

I still need more players to playtest what I really need to playtest. Next game is two weeks from last Saturday.

Weapon or Tool?

(Smitty is gonna love this.)

____

For the ven, the only weapon is the Sword. Everything else is a tool. Spears, bows, hammers, whatever. Everything else is a tool.

If you face an enemy and you have a Sword and your enemy does not, your enemy has the aspect “Tool.” You may tag it for two bonus dice by giving your opponent a style point.

This may only be done in a face-to-face fight. If someone fires a bow at you from 300 yards away, you may not invoke the Tool aspect.

____

(I love the asthetic of someone tossing a style point at another player and calling him a tool as he kicks his ass.

(Some days, it’s good to be the ven.) 

Magic Number Seven

Comment on this post and I will pick seven of your interests. You then explain them in your journal and re-post.

Taken from

Alan Moore
Alan Moore is the cousin of Mary Tyler Moore. He made a brief cameo on a few of her shows in the ’70’s, making an appearance as an honest journalist. His character returned on the controversial spin-off, The Dick Van Dyke show.

Unfortunately, his unconventional brand of humor did not fit America’s unsophisticated and puritanical culture, so he began writing comics. His very first comic, A Lonely Man on the Bus, showed potential, but Moore squandered his talents on stories too intellectual for American tastes. He retired to Northampton where he lives today with his pet snake.

Comics
My two favorite comics are George Carlin and Andy Kaufman, although Andy really wasn’t a comic, he was a song and dance man.

Carlin brought a level of intelligence to comedy, stirring in a degree of profanity and vulgarity that really shouldn’t taste good together, but somehow, he makes it taste like manna from Heaven.

Kaufman, on the other hand, showed me just how uptight and convinced people are of their own dogmas. And how much fun it is to convince people they hate you.

Harlan Ellison
Harlan Ellison wrote the famous book The Invisible Man, a book about racism and and Chevy Chase. He now lives in Los Angeles and writes about earthquakes and heart attacks.

Rush
Rush Limbaugh is a big, fat idiot. His original name was Dorph Dingleberry, but he was inspired by a three-piece prog rock band from Canada, and changed it to Rush.

Meanwhile, that same three-piece prog rock band was recently presented a dilemma. You see, the band has never released any greatest hits or compilation albums. Never. (Their old record company, on the other hand, has released as many compilations as Rush had records with them. None of those compilations are authorized by the band.) Meanwhile, fans were asking for a DVD release of 3 concerts from the ’80’s. The guys in Rush are fans of bands, too, and they know the desire to buy anything with the band’s name on it.

So, what to do? Re-release three concerts their fans already have? Hm…

This is what they did.

They released all three concerts in a single boxed set… for about twenty bucks.

“Our fans already have these,” the band announced. “It would be wrong to make them buy the concerts twice.”

That’s why I love that band. And Limbaugh is a big, fat idiot.

Tom Waits
“I’d rather have a bottle in front of me than a frontal lobotomy.”

Dot King was whittled from the bone of Cain
with a little drop of poison in the red, red blood
She need a way to turn around the bend
She said I want to walk away and start over again.
There are things I done I can’t embrace
I want to look in the mirror, see another face
I said “never” but I’m doing it again
I want to walk away, start over again.

No more rain
No more roses
On my way, slake my thirst in a cool, cool pond.

There’s a winner in every place
There’s a heart that’s beating in every page
The beginning of it starts at the end
When it’s time to walk away and start over again.
Weather is murder at a hundred and three
William Ray shot Corabell Lee
A yellow dog knows when he has sinned
You want to walk away and start over again.

No more rain
No more roses
On my way, shaking my thirst in a cool cool pond.

Cooper told Maui the whole block is gone
They’re dying for jewelry, money, and clothes
I always get out of the trouble I’m in
I want to walk away, start over again.
I left my bible by the side of the road
Carve my initials in an old dead tree
I’m going away but I’m going to be back when
It’s time to walk away and start over again.

Valhalla
My last name, “Wick,” comes from the Viking word “vik,” which means “water.” The “vik-ken” are “the people of the water.”

When I was young, I believed with all my heart that my father was a Norse God. He stands 6’6″, blonde hair, bright blue eyes. When I read Twilight of the Gods in 5th Grade, I became infatuated with the idea of a Heaven that was not open to just anybody, but to those with courage enough to fight and die for what they believed in. The little black and white wood carving of the valkyrie, cradling the slain hero in her arms, lifting him off the battlefield, brought out my first trembling moments of adolescence.

Houses of the Blooded: The Great and Tragic Life of Shara Yvarai

I’ve been dividing my time between game design and translation.

I’ve undertaken a great task. Translating an obscure ven pillowbook called The Great and Tragic Life of Shara Yvarai. I first read about it in college when studying Plato’s Republic. My research on Atlantis lead me to the ven, and ever since then, I’ve been collecting scraps and bits from various translations.

I’ve been using Duncan’s to translate it. A slow and demanding process, but I think I can publish my translation next year.

I just finished translating the patona: a ven literary tradition of giving the reader a brief foreshadowing moment of the ending at the beginning of the book. I thought I’d share.

 

When her back hit the floor, the sword fell from her fingertips, scattering away.


He moved fast, his own blade plunging downward, powered by both hands on the hilt. She rolled, but not fast enough.


The tip of his sword pierced her belly, her blood splashing across her chest. She felt it reach through her flesh, cracking the stone under her. She screamed, grasping the blade with gloved hands.


“It is over,” he said, looking down at her, his hands still on the pommel.


She could not move, could not speak. Only look up at his face. His eyes. Those beautiful eyes.


Her fingers reached for her sword, but he leaned on his own, making her scream again, her voice echoing around the cold walls.


“You are dead, Shara,” he told her.


All around her, blood on the floor. The faces of Senators watching closely. Intently. Some eyes burning with fire, others wet with tears.  


Then, she saw his injury. His hand, drenched in crimson, holding his side.


She shook her head, her sweat and hair in her eyes.


He smiled. The same smile he gave her before. “Very well,” he said. He twisted the sword.


Her scream was cut off by the blood in her mouth. Her voice made a wet sound as she choked. The tip still buried in the stone beneath her, he could not twist it all the way. Only enough to aggravate the wound.


“Enough!” a voice called out from the Senators. Shara recognized it. A woman’s voice. A young voice. Older than she remembered from two years ago.


He looked up and out at the face in the crowd. He nodded. “Agreed.” Then, he pulled on his sword, still trapped in the stone below her.


But her hands wrapped around it, holding on. Pulling against his strength. The strength of the stone and the strength of her hands, keeping the blade in her body.


He looked down at her, his eyes confused. “What are you doing?”


And through the blood, and through the pain, and through the memories of it all, she smiled.


She smiled and said his name through bloody lips.

 

Houses of the Blooded: A Larping We Will Go

I have a small sized group ready, but not a Crew. Need a Crew.

I’m heading out to LARP for specific reasons.

I want to find playtesters for the Houses Larp. I’m gonna need an enormous amount of people playing the game on a regular basis. The best way to do that is find a huge group.

I also want to have a crew go into a Larp with a critical eye. What systems work? What systems don’t work? What was neat? What made you so frustrated you wanted to eat someone’s head. A critical eye on player behavior, culture, and other elements so we can design a system to address all those problems.

Like killing any character that starts an unauthorized fight. Or the No Pets rule. Or the Helping Hand Heinig Rule. Those help facilitate a healthy play environment and discourage the wankers.

That’s what I really want. A game system that discourages wankers from wankery.

I know I can do it. I’ve already taken the right steps. We’re headed in the right direction, but we’re only part way there.

If you’d like to help, let me know. 

I’m waiting for you.

LARP This Weekend

I’m attending a Vampire LARP this weekend: Saturday night.

Two reasons.

First, to scratch my LARP itch.
Second, to get players for the forthcoming Houses LARP playtest.

I want a Crew. Who’s with me?

Houses of the Blooded: The LARP Rules

This chapter gives general guidelines for playing Houses in a live action environment. The rules are a little different, but basically the same. Let’s take a look at those basics.

Style
The most important change in the system is how players use style. Instead of using dice to determine random elements, we use style.
Before we get using style, let’s talk about how you bank it.

Like the table top game, you can bank a certain amount of style. The base for your style bank is, of course, the things you own.

Every ven can carry style based on what they are wearing.

•    If you show up to the game in regular old mundane clothes—a t-shirt and jeans, for example—you can carry a base of five style.
•    If you show up to the game with even part of a costume—a cool hat, boots, a sword, whatever—you can carry a base of seven style.
•    If you show up to the game in full costume, I’ll let you carry ten style.

That’s your base. When you show up to the game, I give you that much style, based on what you come to the show with. Full costume, ten style. Half a costume, seven. No costume five.

You can also bank the same number of style. In other words, if you get more style during the night, at the end of the game, you have to surrender any excess style.

As usual, items and Art can bank additional style for you. You have a rank 2 hat, you can bank two additional style at the end of the game. You have that same hat and a rank 1 Sword, I’ll let you bank three additional style.

And, of course, if someone tags or compels an aspect, you get one style.

A Liege’s Demand
At the beginning of each game session, your direct Liege can demand 1 style from you and each of your fellow Vassals. There’s really nothing you can do about it. Learn to live with it.

He doesn’t have to make the demand, but the option is always open. Also, if you are a Liege over other ven, you may make the same demand. Once per game, once per vassal.

Risks
To determine the outcome of risks, players still gather dice as usual, but instead of “dice,” we use the term “points.” Each die you would normally gain for a risk becomes a point.

Simple Risks
So, for a usual simple risk, gather points at you would check the following.

1.    Is your Name appropriate to the risk? If so, gain one point.
2.    Do you have the relevant Virtue? If so, gain a number of points equal to your rank in that Virtue.
3.    Do you have an appropriate Aspect? If so, gain three points.
4.    Can you tag another Aspect? If you can, gain two points.
5.    Can you invoke or tag any free Aspects? If so, gain another three or two points, as appropriate.
6.    Do you have any other bonuses? Romance, Items, etc. If so, gain an appropriate number of points.
7.    Once you’ve gathered all your points, you may now spend style to add to your total.

As long as your points beat the standard target number, you get to narrate the outcome of your risk. If you do not, the Game Master gets to narrate the outcome. Often times, a simple risk is a binary question. Yes or no. Did I unlock the lock? Did I jump the rooftop? Did I decode the cipher? These questions are answered by simple risks.

Any style you use for a risk are spent. Gone for the rest of the game.

Wagers
Using wagers is still pretty much the same. Each wager you make gives you more narrative control, adding an additional “yes, and…” to the outcome.

You can exchange four points for one wager. Any points you set aside for wagers do not apply to your total points.

Now, because live action games are generally player vs. player, you cannot use wagers to say something true about another player character ven. Just can’t do it. I already see people making endless Wisdom risks at their enemies, piling on irrelevant and damaging “facts.” Bad form.

Contested Risks
Contested risks are a little more complicated.

Use the same procedure as above. The ven with the most points wins the risk and may narrate the outcome. Also, the victor keeps all his wagers and the defeated keeps only half, rounded up.

Any style you use for a risk are spent. Gone for the rest of the game session.

Violence
Having been in a few live action clubs before, I’ve got an opinion on how to handle violence. Here’s how it works in my game.

Unapproved Violence

First, I assume most—if not all—games take place in a noble’s home or castle. That means a few dozen armed guards surround every scene. That means, if anybody starts any violence that is not approved by the owner of the house, the characters who start the violence get themselves killed.

As in die. No test. No risk. Nothing. Die.

The characters die at the hands of a few dozen armed guards specifically trained to kill anyone who starts unapproved violence.
So, just in case you didn’t hear me, this is the system for a character or a group of characters jumping someone else inside a castle where they do not have the approval for violence.

They die. That’s the mechanic.

Approved Violence
Now, approved violence is another matter. If you have the lord of the manor’s approval to whack someone on his own grounds, by all means go ahead and do so. You can use the very same rules for duels or Mass Murder you found in the Violence chapter, with a couple of modifications.

Duels
One on one fighting is pretty much the same.

1.    Gather points.
2.    Strike bid. Giving up points to go first.
3.    Secretly make wagers.
4.    Reveal remaining points. The highest total wins, keeping all his wagers. The defeated keeps half, rounded up.

Use the Maneuvers as usual, requiring two wagers each. Injuries are the same: aspects your opponents can tag.

Mass Murder
Like duels, Mass Murder uses pretty much the same mechanic, just substituting points for dice. Maneuvers still cost two style points from the ven using the Maneuver. Failure to dodge a successful attack results in a rank 5 Injury.

Other Rules
All the other mechanics in the game operate as usual. Anything that gives you more dice gives you more points. But a couple more rules for the “official” Houses of the Blooded live action game.

No Pets

Game Masters are forbidden from playing any characters, PCs or NPCs.

The most a GM can do at a game is create the illusion of servants. When players need to address a servant, they can turn to the GM, make a demand, and the GM responds accordingly.

Likewise, any assistants the GM may have may not have PCs of their own, but may only play inconsequential NPCs. Scenery. Backdrop characters. Servants and common folk.

The Heinig Rule: Everyone Helps
At every game, every player should have the opportunity to play an NPC, important or inconsequential. A bandit. Duke Xyvrost. An ork. The Lady of Shadows. Doesn’t matter. Every player can expect the GM to tap them on the shoulder and request you spend at least one fourth of the game as an NPC. Four hour game means you spend one hour playing an NPC.

The GM should assign a Goal to each NPC. Something the character needs to accomplish, either that night or down the road. Short term and long term Goals. If the player accomplishes the Goal for the NPC, great! He gets rewarded at the end of the game. If not, that’s okay. We still thank you with a lesser reward for putting aside your own character to help the GM run his game.

Rewards
At the end of a game session, players are rewarded with style points.

1 style point for playing your character.
1 additional style point for good sportsmanship.
1 style point for playing an NPC.
1 additional style point for obtaining an NPC’s short term Goal.
1 additional style point for obtaining an NPC’s long term Goal.