Egg Cream

With The West Wing in the background, second season, episode 3, the President drinks an egg cream for the first time.

I had forgotten this wonderful drink. My personal recipe.

  1. Get a tall glass. Chill it in the fridge. Cold is the secret here. Cold, but not freezing.
  2. Cover the bottom of the glass with chocolate syrup. Your favorite. Be sure to cover the bottom of the glass. Lots of chocolate.
  3. Now, fill about 1/4th of the glass with whole milk. Not skim milk. Not 2% milk. Whole milk. Cold. Cold, cold cold.
  4. Finally, fill the rest of the glass with crisp, chilly seltzer water. Do it fast to give the drink a thick head.
  5. Again, cold.

Drink immediately. The longer it sits, the more flavor seeps away.

Experiment with the water/milk/chocolate mixture until you find the one you like.

Egg cream. Ah, how I love you.

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.

Greatest Song Ever

Cross my wooden leg and swear on my glass eye.

Turn it up.
No, louder than that.
No, louder than that.

Okay, that may be enough.

Real Magic

Should be a Lord Strange entry. But it’s here.

Last time I was in Vegas, my mom asked me what show I wanted to go see. I told her, “Penn & Teller.”

She said, “The Blue Man Group is supposed to be really good.”

I said, “That’s just three clowns dipped in blue paint. It doesn’t mean anything.” Then, I told her again. “I want to see Penn & Teller. And I’d like you to come along.”

So, we ended up seeing Penn & Teller. Why? I’ll tell you why.

Because magic–“real magic”–is about communicating deep and powerful truths. Sublime truths. Communicating that which cannot be communicated by words alone.

That’s why Masonic ritual works. It’s why Catholic ritual works. It’s why ritual itself works.

And it’s why this trick–this simple trick–communicates one of my favorite deep and powerful truths better than anything I’ve ever seen.

Magic. Real magic.

Game Design Rule #1

Game Design Rule #1: Don’t Design Games for People You Wouldn’t Allow at Your Table

Writing Houses. Writing The Wanker Rue into the chapter on aspects. It looks like this:

Using aspects is fun. It should be fun. Sometimes it’s fun.

Sometimes, a player abuses the rules to make the game fun for him at the expense of everyone else. Ah, wankers.
David Williams (one of the best game design minds in the world) came up with The Wanker Rule. At least, I learned it from him. Here’s how it goes.

If you find a way to interpret a rule that clearly damages the play environment, sabotages other people’s fun or is just plain nonsensical, don’t use the rule in that way.

In other words, don’t be a wanker.

I fully endorse taking style points from players who decide to be wankers. Of course, a warning is fair. Sometimes, we get caught up in the drama of the moment. Sometimes, our characters’ motivations seep into our own. Sometimes, those “imaginary” characters we play just get the better of us. I understand that. Hell, I’ve been on that end of things. But, we have to remember that what we’re doing is building a story, and sometimes, the hero doesn’t win. Sometimes, the hero loses.

But then, sometimes, the player is just a wanker.

We’ll talk more about this in the Player chapter. Until then, remember the wanker rule. It’s gonna show up again.

Finished writing. Then, I wondered if I needed this section in the book. Who would read it? Would they need to know it? Would they already know it?

Ah, the choices we make. Most players need it. I know that flies in the face of conventional wisdom, but I’ve played with lots of different groups and my opinion, drawn from my experience, is that most people need this advice. There’s a small number who don’t–you may be among them–but even if this rule doesn’t apply to you, or even your group, that doesn’t mean most players are like you.

Like I said above, I’ll talk more about this in the Player chapter. I’ll post that, too.

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.

Gamex!

I’ll be in LA over the 3 day weekend running games and helping out with the HEEEUGE Indie Press Booth.

I’ll be flying in on Friday morning. I’d like to split a room with someone. (I can even bring my own air mattress.) Let me know if anyone wants to split the cost.

Houses of the Blooded: Resources

Me to Jessie. “You collect Wine + Spices + Food, that’s worth 7 resource points. And with that, you can buy stuff.”
Jessie to me. “So, a price list?”
Me to Jessie. “Kinda. I mean, if you want a ten foot poll, bang, there’s a ten foot poll. You’re a friggin’ baron. You can get a hundred ten foot polls.”
Jessie to me. “But this is Houses of the Blooded. So it’s an eleven foot poll. Because even the polls go to eleven.”
Me to Jessie. rofl

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!!!