Tales of Blue Rose: The Cutpurse With His Trousers Down

The Cutpurse With His Trousers DownIt’s story time for this week, but there’s no need to gather ’round. You can purchase this Blue Rose tale and read it at your leisure, in your choice of PDF, mobi, and epub formats, for just $1.99!

In “The Cutpurse With His Trousers Down,” a master thief sees the perfect opportunity to frame his rival, and learns that best laid plans are often the first to go awry.

Author Brandon O’Brien is a poet and writer from Trinidad and Tobago whose work has been shortlisted for the 2014 Alice Yard Prize for Art Writing and the 2014 and 2015 Small Axe Literary Competitions, and appears in Strange Horizons, Uncanny, Reckoning, Arsenika, New Worlds, Old Ways: Speculative Tales from the Caribbean, and other outlets. He is also a performer with The 2 Cents Movement, and the poetry editor of FIYAH: A Magazine of Black Speculative Fiction.

 

Ronin Roundtable: Driven and Motivated

One of the new elements in Modern AGE is Drive, a trait which sets your character’s emotional motivation. You pick Drive at character creation, where it provides a small capstone benefit. If you use the Conviction rules (you’ll recognize these from Blue Rose: The AGE RPG of Romantic Fantasy, though they’re optional in Modern AGE) Drive also influences how it works.

But I’ll let you in on a secret: The best thing about Drive isn’t mechanical. It’s the principle of the thing.

I think virtually everyone has played a game where getting the characters involved in the story is a challenge. Roleplaying games have taken several stabs at pushing characters to act. The first tactic is no tactic at all. The game sort of assumes the GM’s job to convince the characters unfolding events are worth their time. When I was playing games as a teenager, this was virtually the only method. Combined with teenage defiance, this led to a lot of glaring and nonsense until everyone settled down. Another tactic is to weave characters into the setting, with responsibilities and problems which force them to get things done. More recent games have suggested ways to signal the GM about a thing your character might go for due to an obsession, goal or personality trait. This is a more focused version of the first, GM-as-salesperson method. Then we have background-driven motivations, ranging in length from one-liners to long backstories which are supposed to kick characters into action.

Drive is similar to all of these but isn’t quite the same. It’s a lot like “alignment” in some ways, and it absolutely is a personality trait, but its function is more than a description of the character’s psyche. Now when you get the book, this will probably read as overselling it, since Drive is not a mechanic designed to dazzle with innovation, and in nuts-and-bolts fashion, is fairly conventional. Here’s a Drive from the upcoming Modern AGE Basic Rulebook. It’ll look totally familiar to folks who’ve played a lot of RPGs.

Protector

There are a lot of threats out in the world, and you guard against them. Exactly what you consider a threat, and who or what you are protecting from it might vary, but the most important thing is you are not going to stand idly by when you could act.

Your quality is devotion to those under your protection and to your ideals, no matter what challenges lie in your path. Your downfall is recklessness when it comes to putting yourself (and others) in harm’s way to protect your charges.

Talent: Misdirection or Protect

Improvement: Health, Membership, or Reputation

What’s her motivation?

So why am I going on like this? I want to make its purpose clear. Drive is a personality trait that always answers the question: “Why are you getting involved?” Always. Because in Modern AGE, character creation assumes the question, “Are you getting involved?” is always answered in the affirmative. This is a subtle but important difference from games where the GM is supposed to sell you something, and games where the facts of the world (“I’m in the Secret Service,” or “They killed my master and I want revenge?”) dictate involvement. Drive is a personality trait which explains why your character is emotionally invested in the story.

Is this rhetorical sleight of hand? Absolutely. But it has a fine pedigree. Drive has a precedent in improv, where performers are urged not to block ideas that come out of the on-stage, brainstorming-while-acting process. So, when you crack the book open and pick a Drive, keep in mind that this isn’t a general blueprint of your attitude as much as the part of you that compels your commitment.

Drives are emotional, not factual, for a simple reason: Campaigns feature ever-changing conditions. Modern AGE also tells you to write down character Goals. Goals transform over time, but your Drive usually doesn’t. (Here’s an optional rule: If you want to change your Drive later, that’s fine, but you don’t get the benefits that come at character creation, except for how your new Drive affects Conviction, if you use it.)

Drive is primarily a way for you to develop your character’s emotional connection to the story. We can map it as a Mad Lib, as follows:

My inclination to be a [DRIVE] makes me want to get involved with [SITUATION] because [MOTIVATION], so I’ll [ACTION].

[DRIVE] is the Drive trait on your sheet.

[SITUATION] is what’s happening in the story.

[MOTIVATION] is an account of how your feelings about the situation inform your actions.

[ACTION] is what you will do.

To demonstrate how this works, I’m going to take the sample Drive, Protector, and hit the “Situation” random generator button at http://writingexercises.co.uk/plotgenerator.php. I get

A political demonstration turns into chaos.

Therefore:

My inclination to be a Protector makes me want to get involved with a political demonstration which has turned into chaos because I’m afraid of my friends getting hurt, so I’ll find them and lead them to safety.

In this model, a character goal is a situation that’s always happening—at least until you completely accomplish it.

Breaking this down makes it seem more complicated than it really is. The process is intuitive. As long as you exclude blocking the situation (by refusing to deal with it in an interesting fashion) it comes down to: “This is how my emotions push me to deal with what’s ahead.”

Drive is really a principle with an incidental game mechanic, adaptable to pretty much any game. It’s an attitude shift where getting into the story is your character’s premise, not their problem. In a fantasy game, instead of saying, “As a True Neutral character, I don’t care about this battle between good and evil,” say “As a True Neutral character, I need to accompany my friends to this struggle between the Moral Powers to test the strength of my convictions. Can I maintain detachment amidst all this struggle and suffering?”

Awkward Segue to Factual Update!

So, what’s going on with Modern AGE? The Basic Rulebook text is going through the production cycle right now. Its first setting, Lazarus (based on Greg Rucka’s comic of the same name, developed for Modern AGE by Crystal Frasier) has also entered production. The text for two small pieces of support for the game (to be announced) are also finished, and first drafts of an upcoming book are coming in.

I can’t wait to share it all with you. I’m driven—and I’ll say more about it all another time.

Ronin Roundtable: Walking the Royal Road III: Encounters in Aldis Preview

One of the resources I wanted to include in the upcoming Aldis: City of the Blue Rose when development began on that book was a simple “random encounters” system. Rather than monsters to fight, though, I wanted this system to be iconic “day in the life” scenes for the mighty capital city of the Kingdom of the Blue Rose.

Aldis: City of the Blue Rose book cover is a work in progress and may not reflect the final version. Art by Alayna Danner!

The Encounters in the City of Aldis appendix works simply: draw anywhere between one to three cards from the Royal Road (depending on how much detail you want to pepper the scene with), interpret as appropriate for the scene in question, and present to the players. It can also be interesting to have players draw their own cards for their scenes, and to even have them construct the scene as they or another player encounter it.

 

Below are two examples of how we’re using the system.

Example I: A Busy Square in the Middle Ward

For this example, painting the scene for player characters who’ve arrived in a busy neighborhood square, the Narrator chooses a three-card draw, having each of the players who are present for the scene draw one card. The cards drawn (and the interpretation from the appendix) are:

  • Nine of Chalices*: A small group of people gather about an old city well. Some people in the group solemnly lower their heads and whisper something into its dark waters. Turning around, they decisively march across the square. Others, barely able to hold back their giggles, run up to the well, squeak out a quick word or two, and then excitedly run off.
  • The Hierophant*: You cannot help but pick up on small conversations that buzz about your ears. Turing to see one of the sources of these spirited conversations, you happen to see a small group engaged in polite, but animated conversation. At the center of this small group, a noble is enraptured by the storytelling abilities of his companions. The noble, dressed in clothing that seems to set them apart from the more obvious locals, soaks up the conversations eagerly, only interjecting to ask clarifying questions about the various tales and descriptions the seasoned locals provide.
  • Queen of Swords*: You see an older citizen carrying scrolls and assorted books, one with a marking reminiscent of Queen Allia’s heraldry. They are soon met by other, similarly dressed citizens who begin discussing various aspects of Aldin history. Their voices remain calm and clear, each waiting for the other to finish their point before interjecting.

Using This Draw: All of these cards are set up fairly well for scenes of the sort being played through here; one of them even makes mention of a square! The Narrator describes the scene:

  • “The square is bustling with people both lingering and passing through the square. In one corner stands an old city well around which people gather. Some solemnly, and other excitedly, some of the locals seem to be whispering to one another…wait, no, they’re whispering to the well itself! In the middle of the square stands an old tree, under which a small group of people are picnicking. One seems to be noble by dress, and she is listening intently to the stories of her companions, all of whom seem to be trying to outdo the others with delightful stories and anecdotes. Nearby, a man of advancing years wearing the heraldry of one of the former Sovereigns of Aldis walks past you, carrying a tall, teetering stack of books and rolled scrolls. He makes his way past you, walking carefully to avoid overbalancing his burden. You can see two others crossing the square, wearing a similar sigil. When they see him, they quicken their pace so that they can help relieve him of some of the books he carries. They pause to one side of the square, greeting one another and discussing the contents of the books in delight.”

Example II: A Subdued High Ward Tavern at Midnight

For this example, one of the player characters is meeting a contact in a familiar tavern in the deeps of the night. The setting is one where not much is going on, but the Narrator wants to inject a little color into the scene, just to keep the player character (a spy always on the lookout for enemy operatives) on their toes, so the Narrator draws a single card:

  • Five of Pentacles*: A wounded citizen walks the streets ringing a small bell. They are accompanied by four others in distinctive clothing that marks them as priests of the Primordials. As the group slowly traverses the streets, they call out for charity, not for themselves, but for others. Onlookers seem moved by the procession and begin to speak with one another about how they too can help.

Using This Draw: Now, this card obviously isn’t entirely well-suited on its face for this scene. But the Narrator makes some alterations, adapting it for the quiet of the night-time tavern, thus:

  • “As you enter the tavern, your contact waves to you from the back of the room. The only others in the taproom are a quartet of folk who all wear the vestments of priests of the four Primordials. At the edge of their table is a hand bell and a begging bowl. They have split the coins from the bowl up in the middle of their table, and they are discussing to whom the various small piles of coins ought to go, sliding coins around as they illustrate their points. As you pass them by, you hear quiet but passionate discussion regarding a recently widowed mother of three, while another champions the work of a healer that seeks out the sickly poor in the Lower Ward.”

 

* Note that all the quoted text is as yet unedited, and may change in the final product.

New Blue Rose Fiction

Of Shadows and Light: Blue Rose fictionToday we have a new short fiction piece up for sale, set in the World of Aldea from our Blue Rose RPG! Rhiannon Louve brings us “Of Shadow and Light,” Part 1 of a series titled “Those Who Wait.”

Marn the Rose Knight is used to saving the world, but can Kiyn help her learn to save herself?

 

For other Blue Rose fiction, see:

Or view our entire Nisaba Press fiction catalog here.

Ronin Roundtable: Why Your Big Bad Gets Clowned

I’m excited. Hal’s been showing me art from the Modern AGE Basic Rulebook (that’s the core game, with all the rules you need to play) as the book goes through the production process (yes, it’s been written, playtested, edited and is now going through Adobe sorcery. Meanwhile, I have a team of authors working on the Modern AGE Companion, a book of optional systems for the game.
In case you missed previous posts, Modern AGE is the AGE system game designed for contemporary adventures, covering a period from the dawn of the industrial era to the present day, with options for different genres, psychic powers, and magic. Since the art is coming in, I want to use it as an inspiration to talk a bit about adversaries, not just in this game, but most traditional roleplaying games.

Art by Victor Moreno ~ “They’ve waited a long time to meet her, and you don’t want her keeling over in the first round.”

 

Enter the Devil’s Advocate

I’ll be nerd-biographical: Back in the 80s, I was playing in a house ruled AD&D game (who wasn’t, if they were playing back then at all?) where we slashed and burned our way past the “sweet spot” levels, where, at least by the standards of AD&D, the game remains balanced and easy to run. People often identify this range as levels 4 to 8. We’d hit 15th. Our DM Rick was obviously struggling, since he had to choose between foes with raw, big numbers, which turned combat into a grind, and enemies so complex that he needed to do significant planning ahead of time. We came, we saw, we conquered.

Then one day, things were a little different. Rick told Talid, one of the players, to sit right beside him. We got into the game. A wizard teleported behind us—and behind cover—nuked us with a bunch of fireballs courtesy of an item . . . and teleported out again. Talid chuckled. He was playing that damn wizard. Rick had offloaded the job of running a complex adversary to him. We eventually called him the “Devil’s Advocate,” not for the villain he was playing, but for the position. Just like old-school games had “mappers” and “callers,” we had a titled job for the person who played our enemies, distinct from the GM.

The Players’ Cognitive Advantage

Many, many groups have done this, of course, but I don’t mention this for its novelty, but because it taught me a game design principle which I’ve kept in my pocket ever since. Given the same character and familiarity with the system, a player will almost always use that character more effectively (at least in interacting with rules and challenges) than the GM.
I’ve noticed this in virtually every game I’ve witnessed, played in or run, and the reason is easy to tease out of the story, above. A player usually has just one character to deal with. They can become extremely familiar with that character, develop strategies, and devote their full attention to effective play. The GM doesn’t have that luxury; they’ve got other NPCs to run, an adventure to manage, and a campaign to track—and GMing is, for many people, more tiring simply because of the type of social interaction, where you speak to a group and must keep it focused.
And this power imbalance is often frustrating, especially to math-centric GMs, who can see their NPC should be balanced against the PCs, on paper, but ends up being a pushover. It’s not the math. The players are smarter than you—at least in this instance. They have a cognitive advantage.

Diabolical Advocacy and Streamlining

You can solve this in one of two basic ways. First, you can have a player act as Devil’s Advocate, running villains for you. It’s fun, but in many cases the pendulum swings the other way, and the enemy becomes too powerful to handle.

The other approach is to simplify the procedures for running your enemy. The crudest way to do this is to create adversaries who can only perform one task competently, like beat you up and absorb damage. The disadvantage here is that one-trick enemies can get boring. The variation we use in Modern AGE is to give many adversaries distinct abilities that serve as shorthand for what would otherwise be convoluted sets of abilities, or add flavor that a foe’s basic abilities don’t impart. For example, the Criminal Mastermind adversary has several abilities to stay dangerous without needing to shoot anybody, such as:

  • All According to Plan Stunt: For 3 SP, the mastermind can declare that another NPC present in the scene was working for them all along. That NPC betrays the heroes or produces some information or equipment the mastermind needs right then, and counts as their ally from then on.

(The Criminal Mastermind has other abilities, but you’ll have to grab Modern AGE for the full rundown. I’m not trying to tease, but this post is pretty long. Sorry.)

  • Scot-Free: Whenever the characters would capture, kill, or otherwise defeat the mastermind, the GM may offer the player of the character who bested them 5 SP to use at any point in the future on a relevant test, even if the winning test didn’t roll doubles, in exchange for the mastermind escaping to oppose the heroes another day. (If you’re using the optional Conviction rules, the player gains 1 Conviction instead.)

Both the Devil’s Advocate and streamlining are fine tactics for dealing with PC/NPC imbalance, and which one you use will depend on a bunch of other considerations, such as whether anybody wants to play Devil’s Advocate. Remember that this problem won’t come up if you know the rules better, or can marshal other advantages that compensate for your more diluted attention—and remember that sometimes, the PCs should win. Never snatch victory away when it’s truly deserved.

Blue Rose Short Fiction: Heartsong

HeartsongToday author Lindsay Smith brings us “Heartsong,” a short story set in the World of Aldea, the setting from our our Blue Rose RPG. In this 14-page story, an agent of the Silence finds himself at a moral crossroads when he meets a rhy-bonded Jarzoni priest-adept.

For just $1.99, you can download this tale in your choice of PDF, ePub, or mobi (Amazon Kindle). Or all three!

About Nisaba Press

Nisaba Press is the fiction imprint of Green Ronin Publishing. Nisaba will be publishing novels, anthologies, and short fiction tied to the rich and varied worlds of Green Ronin’s tabletop roleplaying properties. Current plans include stories of swashbuckling horror in the fantasy world of Freeport: City of Adventure, tales set in the romantic fantasy world of Aldea from the Blue Rose Roleplaying Game, superheroic adventures set in the world of Earth-Prime from Mutants & Masterminds, and chronicles of fantasy survival-horror in the world of The Lost Citadel.

Ronin Roundtable: Green Ronin in 2018, Part 1

It seems like just yesterday I was wondering if this Y2K bug would indeed wreak global havoc (spoiler alert: it didn’t) while working on plans to start a new game company. Now here we are 18 years later and Green Ronin is still going strong. Although last year was challenging in many ways, we are starting 2018 in a great position. We have a bunch of projects nearing completion, fantastic new games in the works, and great prospects for the future. Today I’m going to talk about our plans for the next six months. I’ll then do another one of these in June to discuss the second half of the year.

The Expanse

Our biggest project this year is The Expanse RPG. We announced that we’d licensed James S.A. Corey’s terrific series of scifi novels last year and since then Steve Kenson has

been leading the team designing the core rulebook. In a few months we will be Kickstarting The Expanse RPG and the rules will actually be done before we even start the crowdfunding campaign. The game uses our popular Adventure Game Engine, as previously seen in our Dragon Age, Fantasy AGE, and Blue Rose RPGs. We’re excited to take AGE into the future! The Expanse RPG will release in August, debuting at GenCon.

Modern AGE and Lazarus

Want a new AGE game before the summertime? We’ve got you covered! Modern AGE launches in the Spring thanks to the hard work of Malcolm Sheppard and his team. The game lets you run games anywhere from the Industrial Revolution to the near future, with or without supernatural powers as you prefer. Concurrent with that we’ll be releasing the World of Lazarus, a campaign setting based on the amazing Lazarus comic by Greg Rucka and Michael Lark. Its compelling setting provides some timely commentary on current political trends and is a great place to tell stories.

Fantasy AGE, Dragon Age, and Blue Rose

Fantasy AGE and Dragon Age fans will be delighted to hear that two long awaited books are nearing release. Jack Norris and his team have finished the Fantasy AGE Companion and Faces of Thedas and both are now in layout. The Fantasy AGE Companion is the first big rules expansion for FAGE, offering up many ways to expand your game. Faces of Thedas brings a plethora of Dragon Age characters from the video games, novels, and comics to life, and adds some great new rules for relationships and romance. Speaking of romance and fantasy, Joe Carriker and his team have been working on the next book for our Blue Rose RPG. Aldis: City of the Blue Rose is a comprehensive sourcebook about the capital of the Kingdom of Aldis.

Mutants & Masterminds

We are kicking off 2018 with a bang with the release of the new edition of Freedom City, the signature setting of M&M since the game’s first edition. It releases to stores this week so now is the time to check out the city that started it all. Later in the Spring we’ll be releasing Rogues Gallery, a new collection of villains for your campaign. Crystal Frasier skillfully shepherded both of the books to completion, though they were begun by her predecessor. The first book she led from start to finish was actually the World of Lazarus but you’ll be seeing more of her vision of Mutants & Masterminds later in the year with the Basic Hero’s Handbook and Superteam Handbook.

Nisaba Press

Last year we hired Jaym Gates to start a fiction line for us, and this year her diligent work will pay off as Nisaba Press takes off. We will be releasing short fiction from our various settings monthly, and releasing two novels a year. The first will be Shadowtide, a Blue Rose novel by Joe Carriker. We’ll be following that up later in the year with our first Mutants & Masterminds novel.

Freeport and Ork

At the start of this article I mentioned the beginnings of Green Ronin back in 2000. The company’s very first releases were Ork! The Roleplaying Game and Death in Freeport, a modest adventure that launched our longest running property. The new edition of Ork is finished and entering layout. It’s great beer and pretzels fun. Return to Freeport is a six-part Pathfinder adventure coming later in the Spring in which Owen K.C. Stephens and his team really captured the feel of the City of Adventure.

SIFRP and Chronicle System

All good things must come to an end and such is the case with our beloved Song of Ice and Fire Roleplaying. Our license expired in 2017 so there will be no new material forthcoming. We can continue to sell the books we’ve already released, however, so those will remain available to those who want to adventure in Westeros. Our series of compatible Chronicle System PDFs will also continue, first with Desert Threats, a new collection of creatures. Some of the rules material from our last planned SIFRP book, the Westeros Player’s Companion, will be released under the Chronicle System brand with the Westeros specific content removed.

To the Future!

As you can see, we’ve got an action packed six months ahead of us. Later in the year we’ve got excitement like the Sentinels of Earth-Prime card game and the Lost Citadel campaign setting for D&D 5E. Thanks for your continued support! We really do appreciate it. Here’s to some great gaming in 2018!

Ronin Roundtable: Charting the Expanse

As you may well have heard by now, Green Ronin Publishing has licensed The Expanse science fiction novels by James S.A. Corey to produce The Expanse Roleplaying Game, an AGE System game set in the world of the popular series (the seventh novel, Persepolis Rising, was released on December 5th, in fact). The Expanse is one of a number of different AGE System products we’re working on, including Modern AGE, the modern action-adventure equivalent of our Fantasy AGE rulebook, and Lazarus, based on the comic book series created by Greg Rucka and Michael Lark (soon to become a television series as well). Just how are we handling The Expanse in relation to what has come before with the AGE System and what is currently in the works?

Green Ronin to Produce The Expanse RPG

First and foremost, The Expanse is a stand-alone game. It will share a common system with other games, making it easy for AGE System veterans to pick it up. The core book will be self-contained and all that you need to get started playing your Expanse series, much the same way Blue Rose is a stand-alone game, even while it shares systems in common with Fantasy AGE.

Second, while The Expanse uses most of the common elements of the AGE System, our design philosophy has always been to tailor the system to suit the setting and story rather than the other way around, so the game will feature elements particular to The Expanse novels, setting, and style, such as replacing the Health score with a Fortune score, measuring more of a character’s luck in terms of staying alive in a fight or other dangerous situation. A twist on Fortune is you can spend it on things other than damage, but you run the risk of not having as much of it when you’re attacked or encounter other hazards. Likewise, the spending of Fortune affects “the Churn,” an in-game measure of how perilous and complicated things are: Eventually, the Churn can boil over and—as fans of The Expanse novels know—things can get really complicated really fast.

Third and final for this preview, The Expanse core book starts out with a setting in the nearly year-and-a-half between the events of the first novel, Leviathan Wakes, and the second, Caliban’s War. It is after a significant shake-up in the solar system, when major events are beginning to portend even larger changes in the future. It provides us—and your Expanse game—with a convenient starting point without the need to detail every event in the entire series. Plus it allows you (and us) to follow along with the series as major events continue to unfold. You can play in parallel to the events of the novels (it’s a big universe, after all, with a lot going on) or put your own characters into the roles of the crew of the Rocinante in some of the later stories of the series.

We’re still in the early stages of development, working with initial drafts of the text for The Expanse core book, so we’ll have more previews and news for you as things develop. For now, our goal is to ensure your own stories in The Expanse are exciting, fast-paced, and character-driven, with plenty of complications and a universe where even the sky isn’t a limit for very long.

Ronin Roundtable: Nisaba Press!

Hi, I’m Jaym Gates, Line Manager for Green Ronin’s Nisaba Press. We’ll be publishing fiction tied in to the Green Ronin properties, both short fiction and novels. I was given three missions: make a great fiction line, make sure it was a great diverse fiction line, and find some great new voices for both fiction and RPGs. That’s pretty much the most exciting mission plan you could give me, for anything. Why? I got into editing because I discovered how amazing it was to find those incredible new voices that no one else has found yet. There is also something intensely rewarding about taking a good piece of fiction and refining it to its best form.

As we’re releasing our first batch of regular stories, I wanted to talk a little bit about tie-in fiction, and why Nisaba.

First off, one of the best things about tie-in fiction to me is that it gives fans new stories and elaborates on beloved settings. Flavor text in RPG books is great, but sometimes you really want to go on an adventure with characters. See the sights of Emerald City, smell the sweet reek of Freeport, maybe feel the wind on your face as Rezeans gallop across the plains. While we can’t LITERALLY give you all of that, fiction gives windows to the new and existing characters in our settings. Maybe they’ll inspire new adventures, show up in your existing adventures, or just be a brief excursion with a fictional friend, but any way it goes, we love giving fans the chance to interact at more length with our settings.

It’s also a great way to get your RPG fix if you don’t have time to game, are playing another game, or can’t get a good group. It’s like talking to an old friend you don’t get to see often enough.

Secondly, tie-in fiction is a great way for new fans to get involved. There are a lot of settings, a lot of rules, and a lot of history. It can be scary for someone to just jump in at the deep end with no idea what’s going on. A short story or novel takes away that overwhelming feeling of “SO MUCH STUFF” and gives the reader a gentle introduction to a new place.

And last but not least: because the world is made of stories, and stories allow the creators to develop things that might never come up in the RPGs, or that might just not have been thought of. Narrative is a unique thing that forces you to think of so many angles that you might not otherwise see. The scents and sounds of a world, the interplay between character and their religion, questions of morality and honor. A story fleshes out what the RPG has built to a level that flashes and flavor text can’t approach.

So that is “Why tie-in fiction.” I’m really thrilled with the stories I’ve already been working on. We have Anthony Pryor’s My Night in Freeport, Lindsay Adam’s tale of an Aldean agent and a Jarzoni priest-adept, Eytan Bernstein’s story of Kid Robot’s first day of school, and so much more. All of these are original fiction set canonically in the settings you know and love. My hope is that they bring another aspect of engagement and joy in the setting.

And keep an eye out, we’re planning to host an open submission period in a few months, so if you’re wanting to write fiction for Blue Rose, Freeport, or Mutants & Masterminds, get plotting now!

Ronin Roundtable: Walking the Royal Road part two: Backstory

Hello and welcome to Walking the Royal Road, an ongoing series on using the Tarot (or Royal Road, in Aldin parlance) in Blue Rose AGE games. See also the first in the series, Part One: Friends & Loved Ones.

The Tarot has been used in roleplaying games for quite a long time, in a variety of contexts, and with good reason. Reading and deciphering the Tarot is less a matter of divination as it is storytelling—each card carries an intrinsic meaning (and sometimes a second meaning when the card appears inverted) that can serve as a building block for a larger narrative. When multiple cards are laid out, with each card position also having a meaning, it is possible to use them to build a small story of some kind, through the language of symbolism and the very human act of pulling disparate elements into a larger narrative.

The Blue Rose AGE core book already suggests a use of the Royal Road: in the establishment of a character’s Calling, Destiny, and Fate. There are also some suggestions for using tarot in Chapter Ten (p. 313, in the section “Walking the Royal Road,” where the title for this series comes from). This series of articles is going to suggest some additional uses for them.

The cards we use in these articles are the Shadowscapes Tarot, with art by the amazing Stephanie Pui-Mun Law, whose art has graced the covers of Blue Rose books throughout the game’s history.

Backstory

Today’s article discusses the use of the Tarot in generating a backstory. Romantic fantasy heroes frequently have backstories filled with twists, turns, tragedies, and confrontations. By the time these characters reach adulthood, many of the heroes of Tamora Price, Mercedes Lackey, Diane Duane, and other such authors have experienced a great deal that has shaped them into the heroes they are today. Of course, in those novels we frequently get to see this happening, but most Blue Rose game begin with fully adult characters. This provides a way to mimic some of those challenges.

The Spread

The spread for this method is not static, but can depend on just how much backstory the player (or Narrator, if creating the backstory of a Narrator character) wants to have had. A good round number for beginning player character is probably three cards: one for adolescence, one for young adulthood, and then a card that represents the struggle that led to the hero’s first level in a player character class. If they’re starting off at higher levels, an additional card for each level or two is probably also appropriate.

Feel free to also draw additional cards for major events. If your character is rhy-bonded, perhaps a card that reflects the events where that rhy-bond awakened in their lives. If they are part of the Sovereign’s Own, perhaps a card that represents them getting noticed or receiving training. If the character is older than a young adult, perhaps a card for every five or ten years since their young adulthood makes sense.

Some options for individual card meanings include:

  • Childhood
  • Adolescence
  • Young Adulthood
  • First player character level (often combined with another card, most likely Young Adulthood)
  • Rhy-bond
  • Entry into an Organization, Institution, or Group
  • Beginning of a defining Relationship
  • End of a defining Relationship
  • Starting a Family
  • Starting a Business
  • Middle Age

As you can see, there are a great many options, with the possibility of many more. Try and keep your focus to five cards or less, as the more detail there is, the harder it gets to weave it all together into a single cohesive whole.

This system is quite simple to use. Lay the cards out, face down, in a line. Then, from left to right, flip over each card, noting what stage or element of backstory this represents. Take the meaning of the card in question (using online resources or the booklets that frequently come with Tarot decks) as a prompt about the events the card represents; additionally, you can let the images on the cards themselves be a guide as well. Take notes; each of these cards is its own small story, but each is also a step in a greater story progression.

 

Example

In the image, we have laid out four cards to represent a new player character named Jaxan. Jaxan is a human adept (Forest Folk background) who is rhy-bound to a rhy-owl named Whisper. I have decided that the first card represents his childhood, the second card is his adolescence, the third card is the establishment of his bond with Whisper, and the fourth card is the achievement of his adulthood and the gaining of his first level of adept.

Childhood: Five of Swords. This card shows a winged swordsman, with a pair of dark-hued geese or maybe swans at his side. The card itself represents discord and conflicts of interest, the feeling that the world is arrayed against you, so you feel justified in focusing only on your own concerns and profit. Jaxan’s childhood was clearly tumultuous, and it looks like he had to take care of himself, having no one else to do so.

Adolescence: Judgment. This card shows a fey-like spirit among the flowers, playing music and surrounded by butterflies. The card represents release and renewal, having to make hard choices, making a judgment that may be harsh and difficult to face, but absolution comes thereby. With his adolescence, however, Jaxan was freed in some way by hard choices he made.

Rhy-Bond: Two of Pentacles. This card shows a harlequin-like figure balancing on one foot atop a pillar, while he huggles a pair of pentacle disks, with a monkey seated at his feet. It represents a balancing act, having to juggle and keep everything in motion, the trait of being flexible and adaptable, able to change directions easily and quickly. A sense of flexibility, of adaptability surrounds his rhy-bond; perhaps he is a good match with Whisper because the rhy-owl lacks that trait in some capacity? (I admit, the notion of a stodgy, grumpy older owl who is a bit hidebound in his thinking pleases me greatly.)

Adulthood: Four of Swords. This card shows a maiden in repose, a blade clutched to her body, her head reclining on three other blades, while she is surrounded by flowers and a dove is perched at her feet. Its meaning suggests a moment of repose, meditation and centering, and finding one’s inner strength. Jaxan’s adulthood–and the full bloom of his adept powers–may have come about not as a result of some kind of sudden trauma or stress, but the alleviation of such. When he finally gets the chance to rest, to turn his attention inward, his arcane talents blossom.

Conclusion

Here is just one example of this method for backstory generation. It’s far from the only one, to say nothing of the variety possible from other card results entirely!

Jaxan: The Woodwise Adept. Jaxan grew up in a small community called Avia, about three days north of Ennevan, in the southern edges of the Pavin Weald. The community was mostly made up of lumberwrights, fur-traders, and woodsfolk of various sorts. Jaxan has vague memories of his mother, but most of his genuine memories are of a neglectful father, who spent most of his time in the woods and when he was home, spent that time in the bottom of a bottle. Jaxan always sort of understood that his Da mourned his mother, but that didn’t change the fact that he basically left the boy on his own much of the time. (The themes of discord and being alone against the world are directly from the Five of Swords.) His closest neighbor, a goosewife with a full and hungry brood of her own, did her best to watch out for the boy, feeding him in return for his occasional help watching her geese, but that was the closest the wild boy had to any kind of supervision. (I really dig the birds in the card’s imagery, so he grew up helping to tend geese.)

As he grew older, though, he couldn’t help but note the sorts of things his Da brought home more and more. Coin, certainly, but also other trading goods, clothing, even the occasional weapon. His Da would make a trip into Ennevan occasionally to sell it, though he was always very protective of his privacy, instilling in Jaxan the need to keep quiet about their affairs to others. But when a pair of envoys came to Avia, looking for members of a band of bandits operating nearby, the fourteen year old Jaxan realized just what it was his father did for a living.

For the next couple of years, Jaxan held his father’s secret, though it ate at the sensitive and clever boy. He knew his own justifications became more and more absurd, but how could he betray his own father, even as neglectful as he was? He was the only family he had. But the next time someone came to Avis, seeking the bandits, it was a traveling noble and his companions, and they brought with them someone badly injured by the bandits. Face to face with the reality of the ill his father did, Jaxan fled to his home.

Sleep eluded him, until he was forced to sit upright in bed. Tomorrow he would find the noble, and do what was right. As he decided that, something battered at the shutters to his room. He fearfully crossed to them, and opened them, to find a great silvery-white owl perched on the sill. You’ve made a hard choice, Jaxan, the rhy-owl’s psychic voice said, sounding old and wise in his head. But you’ll never be alone again, not so long as I live. The rhy-owl introduced himself as Whisper, and the next morning, the two of them found the noble and told him of his father’s crimes.

(Note that I sort of switched up–or combined, really– the Adolescence and Rhy-bond cards to make the story make a better sense. Don’t hesitate to do that. No need to be slavishly beholden to the order of cards as they’re laid out. The goal is a good story.)

Finding out that the boy had no other family, the noble offered Jaxan a place in her retinue if he wanted it. Like most of the young of Avia, he was knowledgeable in woodslore and knew this part of the Weald. He thanked her, but refused. His one brush with helping to enforce the law was painful enough; he wasn’t entirely sure he was cut out to do so as his vocation. Instead, he returned the key to his father’s house to the heads-woman of Avis, gathered a few of his belongings, and he and Whisper disappeared into the woods.

Being perfectly at home in the woods, Jaxan spent some time getting to know Whisper, to mourn the loss of his father, but also to find some peace and clarity for the first time. It was in a forest glade that Whisper taught him to meditate and find his center, and over the next several months the two of them discovered and cultivated his arts in the animism and shaping (particularly plants) disciplines of arcane lore.

Now Jaxan is a young man ready to return to civilization, and the beginning of this Blue Rose campaign!