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As the Aislings watched, a beautiful, turquoise-blue, embroidered silk banner lifted into the growing breeze.
On it were the words 'Credendo Vides.'
'Credendo vides,' the professor said, hardly able to believe what he had read. 'By believing, one sees.'
'What nonsense!' said Miranda.
'Daddy?' asked Cassandra, 'Isn't it supposed to be 'seeing is believing'?'
'Well,' began the professor.
'It all depends, Miss, on how you look at it,' answered Sebastian.
-- James C. Christiensen, 'Voyage of the Basset'�
Hero Wars, like any other roleplaying game, is essentially about entertainment. In this respect roleplaying is just like literature, movies, theatre, and music. Roleplaying games differ, however, from these forms of entertainment in that the consumer is also the creator of the entertainment.
This essay is about taking entertainment seriously. Written with a focus on Heortling games, the basic principles can easily be adapted to any game. The point of this exercise is to show that, in a roleplaying game, you cannot expect to have fun unless you contribute to the fun yourself. A good game is not the sole responsibility of the narrator. It is a matter of co-creation between all involved.
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Storytelling
Storytelling as a term used in the context of roleplaying has been virtually monopolized by a well-known game company. But let's forget about vampires and werewolves for a while, and instead talk about the telling of stories.
In order to squeeze out as much fun and enjoyment as possible from the game, you can use several storytelling techniques when playing Hero Wars. There are two reasons to utilize these techniques; identification, and story. I firmly believe that our ability to enjoy a roleplaying experience is closely connected to our ability to identify with the protagonists, the heroes. Also, they way in which we tell our stories has a deep impact on how much fun we get to have. Therefore, game-style is worth serious consideration.
Jump-Start
Instead of starting each session by recapturing exactly what happened in the last, only to pick up the game exactly at the same point where it left off, you can jump right into the action.
Example: The last session ended with the heroes hiding from a gang of Gagarthi bandits in the cellars of an old ruined hill fort. Using the jump-start method, the narrator begins the next game by stating:
"You are at home, enjoying your first bath in weeks, when you are interrupted by a messenger from the tribal king."
Originally, the players had decided that they wanted to hide their loot, the Sceptre of Disorder, before returning back home. There is no reason to discuss that now, however. Since the narrator jump-starts the game, they are free to later declare that the Sceptre is hidden, and where, or they may simply decide that they have kept it with them all the time.
The action can be moved forward several times in a session, skipping parts of the story, only to discover later what (if anything) happened during the skipped parts. This way, the game is focused on story, simply ignoring boring down-time, or events irrelevant to the main action. And both the narrator and the players are given the opportunity to become surprised by the turn of events.
Flashbacks
Using flashbacks can be a powerful tool if used sparingly and with discretion. Earlier events of a hero's life can be played out, possibly giving added depth and understanding of her current situation.
Example: When Eobard, a player hero, is talking to Uraldesta, who he is currently courting, Braggi of the Black Rock shows up. The narrator moves the action back to Eobard's childhood, playing out a scene in which Braggi is bullying and humiliating him in front of young Uraldesta. When returning to the main action, Eobard's player will remember the degrading experience, just like his character does.
In my game, I use flashbacks more frequently in the beginning of the series, in order to firmly establish the supporting cast in the minds of the players.
Character Monologue
At the beginning of a session, a player may speak briefly in character about a subject. It can be about something that is important to the hero, or she may relate the events of the latest session. Under no circumstances should the monologue be any longer than a few minutes.
Internal Dialogue
At times the narrator may take the part of a hero's good or bad conscience, encouraging the player to participate in an internal dialogue of the hero. This is an excellent way of handling personality flaws of a hero, if any.
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Dos and Don'ts
This brief discussion focuses on what can be expected of you, the player, in a game of Hero Wars.
In Rune Quest, deciding what happened was often pretty straightforward.
"He hits you in the [rolls dice] head. You take [rolls dice] four points of damage."
The dice told us what happened, both in game terms - four points of damage - and in terms of describing the event - hit on the head. You could flesh it out if you wanted - "blood is trickling into your eyes" - but the game worked fine even if you didn't.
In Hero Wars, the rulesey part is easily determined - "you lose seven action points" - but the interpretation of the rules is largely left at the discretion, and storytelling capabilities, of the narrator and players. In my opinion, this is simultaneously the strength and the weakness of the Hero Wars system. If you focus on the rules, they will quickly get in the way of the fun. Loosing seven action points is simply too abstract to be engaging. But if you focus on the story, you will find that the rules can become a vehicle for excitement and pure, uncontaminated joy.
The way to do this is by learning how to say yes. And in order to do that, you have to trust your fellow players.
When the narrator, or another player, describes actions, milieus, social situations, or whatever, your first reaction should be one of acceptance.
Example of a bad response: "So, the narrator tells me that the broo has twisted my arm onto my back, and is unbuttoning its pants. C'mon! I only lost three action points, so how could it possibly manage to do all that? I'll tell the narrator that I don't agree."
Example of a good response: "So, the narrator tells me that the broo has twisted my arm onto my back, and is unbuttoning its pants. Well, I'll try to scare him off using my Visage of Fear feat."
In the first example, the player is more or less asking for a long discussion about the interpretation of action point loss (i.e. instead of trying to tell a funny and engaging story), whereas in the second example, the player is building on the information received from the narrator (i.e. creating a funny and engaging story).
Likewise, it can be expected of the narrator to build on suggestions and descriptions of the players, and of players to build on stuff made up by other players.
Example: Henrik, a player, has his hero, Eobard, say to another player hero: "You live close to the Sentinel Grove, perhaps you can tell us something about the local geography?" The other player had originally planned for his hero to come from someplace else, but building on Henrik's suggestions, he says: "Sure, get me a cup of mead, and I'll tell you."
Pay Attention
Read what you are given. Pay attention to the narrator. Listen, not only to the narrator, but to the other players as well. Occasionally think about how you can contribute to their enjoyment of the game.
No 'Meta-talk'
Roleplaying is pretending, and players and narrators alike should help creating an atmosphere of enjoyment, and excitement. As a player it is your job to make your hero act like a Heortling in order to help ensure suspension of disbelief. If you keep talking about stuff not pertaining to the situation in question, you will move the focus away from the reason you are there in the first place; to enjoy a game of Hero Wars.
You are expected to keep any 'meta-talk' at a minimum. Don't talk about the rules, the game world in general or anything else not related to your hero's actions. Instead, concentrate on what your hero is doing, and leave the rest to the other players.
The rules of the game, their interpretation, and the explanation of them to other players, should be handled by the narrator. I hear you moan: "When may I, as a player, discuss the rules, then?" Well, as a rule of thumb; never. There are exceptions, however:
- When the narrator asks you to.
- If you feel that the narrator's implementation of the rules has an important negative effect on your hero, you may bring it up. Just disagreeing about rules interpretations is not enough (see 'Say Yes', above). If you feel unjustly treated, you may discuss it, provided that you do it politely. As always, remember that the narrator is not your enemy.
- Between games. Feel free to talk to your narrator about anything between games. In fact, a good narrator will encourage you to do so. Criticism and suggestions are always welcome. If you have any ideas on how to improve the game and heighten everybody's enjoyment, do so.
Laugh
No, really. I am not kidding. Laugh. Laugh a lot.
Bwah ha ha ha!
See? I feel better already.
Contact me at [email protected].
