Observations of the Fox

So here's how it works. A mystic decides that the want to transform the world in a predetermined way.  To do this, they instinctively follow a procedure that involves a few steps. They decide what changes they are aiming for. They invoke the energy that will manifest changes in the world. They filter the gathered energy through their intentions. The world changes in some way. The first and last steps are fairly narrative in nature, while the middle steps are where the mechanisms of play manipulate the flow of events.  They decide what changes they are aiming for. The effect is described in the terms of a simple sentence with one or more metaphysical terms thrown into it. The simplest form of the magical sentence is a metaphysical verb combined with a metaphysical noun. The verb is what you're doing, and the noun is what you're doing it to. "[Create] [Fire]", "[Purify] [Water]", "[Grow] [Plants]", "[Corrupt] [Data]"...the words can be ...

I did a bit of a binge of the recent Predator Movies... Prey, Predator: Killer of Killers, and Predator:  Badlands... over the weekend.  I have to say, that each of these movies is fun, and there's some awesome worldbuilding in them. What makes them greater than the sum of their parts is the way they are interconnected. And on top of that, the way they establish a wider context of worldbuilding across the other movies in the franchise. We get the flintlock pistol from Predator 2 appearing in various movies, we get the post credits scenes in "Killer of Killers" with throwbacks to old characters, yet each movie works well as a standalone. The same can generally be said of the other movies in the franchise, but some of them have been a bit hit-and-miss in their execution.    I love that each of the movies is different and has a different feel, orbiting around the combinations of ideas where sci-fi, action, and horror overlap. I love that the diversity of the main charac...

 It's always interesting to read other people's perspectives. Here's a review of GNS theory after a generation of games have been and gone, and have been influenced by it in different ways. I generally agree with a lot of what the post is saying. A lot of the premise with GNS indicated that the three styles of gaming were mutually incompatible, and any any to reconcile two of them (or heaven forbid all three) was incoherent, and implicitly doomed to failure. However this article recognises that there is overlap between the concepts, and having two goals doesn't necessarily make for a diluted session experience, but just combines flavours for a different experience.  I've posted a few times about the theory (I think most of those posts have " The Forge " as a tag), and have designed with it in mind for decades now, trying my hand at different focal objectives (to varying degrees of success). It's interesting how influential it's been in the hobby, ...

The last post covered the predominantly random part of the character generation system. This post works on completing the characters with a phase that allows a lot more agency from the players.  The previous step got us to... Six total attribute points (we need two more) Four total ability points (we need eight more) One advantage (we need one more) We don't have any aegises, relationships or equipment (but they can come). I'm thinking that we'll be looking at a range of templates that function like apprenticeships what will push characters in certain directions. A template for each bloodline, a template for each culture, and a few generic templates that anyone can choose (rural community, street rat, sailor, trader, crafter, heavy).    Each of these templates will boost a pair of attributes associated with the types of task that this group is known for. It will also grant four automatic abilities, an extra advantage, a pair of relationships, and a pair of basic equipment...

Just when I thought I was getting momentum, life gets in the way again. I've spent most of the last few days in hospital with my wife, or taking her to medical appointments.   I've had some ideas in recent months about the way lower classes are forced to struggle so they don't have time to tell their stories, and how it's only the elite who have the privilege of time to share their narrative, and the social capital to spread that narrative to reinforce the cultural norms, even though the wider experience of life doesn't necessary reflect the stories that are constantly pumped out. It's something that fits into Familiar, and ironically it's the very lack of time to work on Familiar, and the lack of social capital to get it noticed that has kept the stories within it from being completed. It's a game about social systems and rebelling against them, while those very social systems are keeping it down, and it's going to take an act of rebellion to get it...

Is there anything else we need to know about characters within SNAFU, and within the context of this pirate setting?  At the simplest level yes, and the first one that comes to mind is one of the thing that SNAFU is all about.  Relationships. In the worldbuilding posts, I made some characters and linked them to places, so that feels like a cool thing to make sure stays in the game and can really help tie the rules to the setting, as well as tying the characters into the potential stories.  It was also a part of the worldbuilding posts that characters might end up as a blend of cultural backgrounds. With 13 consistent elements to each culture (each has a language, a clothing style, some common virtues they aspire to, some common vices they try to avoid, etc.) Each character would pick two or three cultures that had influenced their upbringing, and with a deck of cards they'd choose a suit of each card rank. It might be a case that a characters starting abilities from each ...