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A question for those of who have've played in one (or more) of my campaigns - what scenes stick in your mind most? I'm expressly not talking about greatest triumphs, or complete abuses of psionic powers (I'm looking at you, ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
grutok) but things that stand out for story, visual, dialogue, or "cinematic" reasons.
The reason being that I'm working through my old notes, and trying to pick out things that worked, didn't work, and more importantly, are remembered. I'm looking for bits that were really good, mostly, but if you remember something you absolutely hated (as a player, that is, not a character), tell me that too.
Feedback on this will hopefully lead to even more memorable games!
grutok) but things that stand out for story, visual, dialogue, or "cinematic" reasons. The reason being that I'm working through my old notes, and trying to pick out things that worked, didn't work, and more importantly, are remembered. I'm looking for bits that were really good, mostly, but if you remember something you absolutely hated (as a player, that is, not a character), tell me that too.
Feedback on this will hopefully lead to even more memorable games!
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Mexican-accented wizard.
Original encounter with pillar and philosophical demons.
Celestial milk reversal.
First time we visited the city with the ginormous statue and found Krail stuff.
The function and bizarreness of the shrine of cathordazaan.
(There's a lot of good stuff there, you know. *bows humbly before the master*)
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And who could forget the chocolate seller?
So many good moments.
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I like the parts that involved working out cryptic clues but the best parts were when we were interacting with the towns people and just general information gathering. (even though i was not generally good at it :(.
The bit that stick out the most is when we figure a way around what appears to be am impossible situations. that fuel air bomb come to mind :P
I cant remember all the bits clearly there were so many in that campaign.
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I remember Steph looking across the room at me, a slight look of shock on his face when I rolled a critical, mentioned something along the lines of: 'Why did you do that... Brother?'
And me thinking: 'Sh!t'
There was the grim satisfaction of Ward selling one of his souls for the fleet of ships. Oh, rebellious teenagers! :)
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The Midsummer Festival game based on "Tonight, Tonight". That was a beautiful thing. It had action and character development and intrigue and vivid images and structure - each of us getting our own arc ending in a transformation.
The whole sequence on the moon, from a severed hand being flung through the portal, through daring rescue mission and the whole damn moon getting dissolved and remade in the process, to flying home on the back of, er, that big blue thing. What was he again?
And I second Nina on the BotTV and the sword-from-stone incident, but then I would.
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Blue is a juvenile mineral elemental, away from home in the Para-elemental Plane of Mineral on what is, for his people, a combination of a wanderjahr and a journeyman stage. He's expected to submit a detailed survey of one Prime world's geology in a few centuries time. He's probably going to be in trouble for sharing out some of the details with natives of that world - who're likely to go digging it up and otherwise messing with it in crazy biological ways - but then, nobody TOLD him not to talk to the organics. In any case, he's tending toward being something of a heretic among his own people, due to his belief that organic-carbon-based surface and metamorphic formations are where the lithic future truly lies.
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Mortgaging our collective souls to pay for new equipment and cover some cosmic fines we picked up was fun though (and typically stupid on our parts.) Remember folks, Demonic loan-sharks are not your friends.
The second campaign was looking very interesting until life happened - have fond memories of Eng_monkey's "Wait a second, you're Lawful Evil, aren't you?".
What didn't work (for me): from my own point of view this is a style thing but I do have some issues with the very high levels of effortless magic and I've a fairly strong dislike of "meeting members of the ruling family down the pub" especially when the characters do not have those levels of connections in their background. Again it's a style thing I prefer magic at a lower level and my nobles aloof and detached and unless there is a very good reason or if the campaign is court based I'm sure the monachy have "People who do that for them" when it comes to meeting the heros - at least for the initial set up.
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Lessee. A selection (only) of good stuff:
- The character of Krothor - lovely use of reputation and rumour to obscure his likely allegiances at first; later, getting us to rely on him and then disappearing him: very good.
- Our first use of the Forest Way - great world mechanism; I liked the way it was revealed - in fact, the whole presence/function of the Druids in Davon was well handled.
- Antlered animals - creepy and comic and mysterious at the same time - multi-dimensional: good.
- The murder mystery in the baths - some brilliantly visual detail (the little thread of blood running under the door, descriptions of the other patrons), and plenty of minor developments that contributed to the overall story arc.
- The journey to Windhowl, and our time there, particularly the first conference with Mazaquol - appropriately awesome and, for want of a better word, dangerous.
- The visit to Rubon's palace - the misleading foreshadowing beautifully handled, very visual, and a great sense of revelation giving way to further mystery.
- Pretty much all the Yellowdale stuff - mystery, myth, mad priests, economic boom, genderbending: what's not to like?
I can think of one element that didn't fully satisfy me - and I'd be the first to admit that this is as much because of my approach and skills as anything else: Sula has very lowly roots - traumatised orphan from a rural backwater, former teen prostitute, etc. - there's a reason she's a paladin of Mendaka, in other words. Maybe it's the way I played her, but I didn't feel there was huge scope for exploring those parts of the character in the very high-level world we quickly began to move in. In retrospect, I wish I'd pushed it a bit more (I felt very underconfident as a player for the first part of the campaign, and by the time I found my feet, the norms of behaviour had been more or less set), but I have a suspicion that it might have gone somewhat against your vision of the story, and I wonder how that would have panned out. (And then again, now I'm convincing myself that I just missed loads of really obvious opportunities for character-developing roleplay and am generally crap. Ignore me.)
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However, this approach is very different to most GMs I know, and when you're still finding your own style and approach, and getting to know how the thing works, I wouldn't worry about it.
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Ah, fond memories of destroying large groups of people without determining their social/ political stance. :D
It wasn't genocide I tells you, it was a bloody good laugh.