This is an odd place to begin play reporting, since we’re several sessions into our campaign of A Song of Ice and Fire, based in the world of George R.R. Martin’s books. It was also the last session for at least a month, as the GM has some other obligations that will keep her busy on our gaming nights for a bit. I’m tempted to write up a back story, to bring my readers up to date, but I don’t think I will. I’ll just do a quick introduction of each of the PCs, and then get into the thick of things, breaking to explain events from past sessions only when necessary. More information on this campaign can also be found at Out of the Night, We Still Come! (which is a blog set up by me for our GM).
One of the great things about SIF is that players are encouraged, even expected, to create their own minor house. We did that, and ended with a very old house that’s fallen on some very hard times. The house is named Straasa, and our motto is “Out of the night, we still come!” which suggests the tenacity that is fairly characteristic of this house. By the end of house generation, both our Population and Wealth traits were ridiculously (and dangerously low). Are lands are technically part of the North, but only barely. Our keep, Castle Swampstone, lies in the swamps just north of the Riverlands, near the Saltspear. Here’s a brief rundown of the PCs, who make up the majority of the major players of House Straasa:
It’s no longer uncommon for a GM to select specific music to play during a game session. Even in my earliest days of gaming, I’d often put on some CD or other, just to provide some background noise. But more and more, GMs are looking for something along the lines of an actual score for their games. Why is this?
The reason is actually pretty simple, even if many GMs don’t consciously comprehend it (I suspect most of them do, however). It’s the same reason video games feature music, or television shows, or film. Hell, it’s the reason behind opera (plays with music, essentially). Music is not just sound, rhythm, tone, melody, etc. Some of it is, don’t get me wrong. But the best music, the music that lives through generations, is the music that conveys emotion. It could be happiness, frustration, elation, sadness, fear, or any other emotion. And when used properly in any of the media mentioned above, it can kick the emotional punch of the story into overdrive.
I have been a fan of Warhammer Fantasy Roleplay (published by Games Workshop) since I was a kid. It was one of the first games I ever bought (I believe it was my third), and my first fantasy game. I really liked the dark, grim setting, even though what was presented was a pretty poor representation of the Warhammer world. I didn’t realize just how cool that setting was until I started with the Warhammer Fantasy Battles wargame in high school.
I never played it much, though it was always in the back of my mind. I found the mechanics a little too complex when I was younger, and so it always had that stigma, even when I was more experienced and probably would have been able to run it with little or no problem. When Green Ronin and Black Industries published a 2nd edition, I was intrigued, but since I was involved in other gaming activities at the time, I didn’t pick it up until recently, and even then, only skimmed through it. It seemed to include more of the rich and fantastic setting than 1st edition, but still seemed quite lacking to me. There was just so much more in the world than what was detailed, so much more you could do!