Spes Magna Games

I received John August’s Writer Emergency Pack via the mail this week. The idea behind it is simple: two decks of 26 cards each, numbered 1 through 26 twice. One deck has illustrated Idea cards, like the “Lose the Cavalry” card showing the cavalry soldier doing his Sean Bean imitation. The other card with the same number is the Detail card. One side has a bit of narration explaining the idea of the idea card. The other side (shown in the pic) has specific suggestions about how to implement the idea. In game mode, players start with a well-known story, such as Hamlet or Curious George. They then take turns retelling the tale based on their respective cards. After spring break, which is next week, I shall introduce at least my 8th graders to these cards.

For this post, I’m looking at the cards as a tool for generating ideas when writing. This could be fiction writing for a lark, class assignment writing for a grade, or adventure writing for a game. In order to put the Writer Emergency Pack into play, I need a story; therefore, “The Shepherd’s Boy and the Wolf” from Aesop’s Fables as told by J. H. Stickney, published in 1915 by Ginn and Company. Next, I draw three Idea cards after shuffling the decks. I get Fight the Giant, Narrator, and Talk It Out. The story is already in third person, so Narrator doesn’t really fit. Between the other two, I like Talk It Out the best. I follow the instructions on the accompanying Detail card.

1. Three locations or situations in which the shepherd boy and the wolf could talk at length?

The most obvious location is the meadow where the sheep graze. Perhaps the boy tracks the wolf back to its lair, or the wolf tracks the boy back to his home.

2. Three characters the shepherd boy could confide in?

The shepherd boy works for the sheep’s owner. The shepherd boy likely has family: parents, an older sibling. A farmer irate at the boy’s pranks might take pity on the boy and offer a friendly ear.

3. A conversation between the shepherd boy and his younger self. What advice would he give?

This one stumped me at first. I mean, the shepherd boy is a boy. His younger self would be even boy-er. But, why fight it? This might be counterpoint to the advice received by the boy’s confidants. The boy’s inner voice urges him toward further shenanigans. Or, perhaps, through the “conversation”, the boy remembers simpler, better times when obedience and duty didn’t seem to be so burdensome.

4. The antagonist is nonhuman. How does the wolf speak? How does it describe what it wants?

It’s a fable. The wolf talks, most likely with a German accent. The wolf wants lamb, but the only way he knows how to get it is to be a predator.

When I put this together, the familiar fable refashions into a different tale. At some point in the story, the boy and wolf have a talk. They explain their respective positions. Doubtless, accusations and misunderstandings arise. Since the boy is a bit of a lout and the wolf is, well, a wolf, I hear them reaching some sort of accord. The shepherd boy agrees to give the wolf X number of sheep as payment for revenge against those who mocked the boy, for example. Or, perhaps, the boy and wolf become friends. Sure, the wolf still eats the sheep, but so do the people in the village from which the boy comes. In this scenario, however, the wolf and the boy team up to defend the sheep and the maybe the village itself against a wolf pack under the command of a Big Bad Wolf. That way, we get some exciting action scenes, and both the boy and the wolf earn a place of respect in the community.

Regardless of which way I would take the story, the familiar fable becomes something rather different, and therein lies the fun. The Detail cards suggest rather than prescribe or proscribe. In answering the questions a Detail card asks, I’m still the creative force. My likes, dislikes, personality, et cetera, drive the story from the starting points of the Detail card’s questions.

If the Writer Emergency Pack works well in class, I’m inclined to seek out some of John August’s other products.

Tags: story games, Writer Emergency Pack

At the start of every adventure (or game session, whichever you prefer), each player gets six Story Dice, which are d4s set aside in some sort of suitable receptacle or space so as to not confused with regular d4s. (Did you notice the alliteration?) Whenever a PC performs an action, the player can choose to roll between one to three Story Dice instead of whatever he’d normally roll for action resolution. (If you’re using statements or something similar, consider permitting a bonus die for actions tied to a PC’s statements.)

After the Story Dice are rolled, select the single Story Die with the highest result. Compare that result to the following:

4: You are completely successful. Describe the result of your action.
3: You are mostly successful. Describe the result, but include one negative consequence.
2: You are mostly unsuccessful. Describe the failure, but include one positive consequence.
1: You blew it. The GM describes the result.

Let see some examples.

Example the First

The PCs have to get past well-armed, alert security guards blocking the door to the VIP suite in a neo-disco aboard Station Antares so that they can have a face-to-face with a crime lord who probably has vital information about a missing shipment of vaccines. Fighting their way in isn’t an option. Terry decides his PC, Alexandra Mason, is going to try to talk the guards into letting them in. Terry decides to spend three Story Dice on the attempt, and rolls 3d4. His highest result is a four. Terry gets to describe the results.

“I take a moment to make sure my make-up looks good, put on my best smile, and slink up to the two guards, holding a drink in each hand. As I get closer, I recognize one of the guards as a spacepox survivor by the distinctive scarring on his face. I hand them the drinks, and explain that we’re trying to track down the missing spacepox vaccine, and that hundreds of children could go untreated. The spacepox survivor is outraged that anyone would steal such vital medicine, and he not only let’s us in, but introduces us to his boss.”

Example the Second

The PCs are heading to Daley, a backwater planet whose main settlement, New Chicago, is a dome-covered hive of scum and villainy. Violent electromagnetic storms make traveling on the surface dangerous, and one of the storms hits suddenly as the Thaddeus Knight guides the PCs’ spaceship in for a landing. Christopher decides to roll two Story Dice rather than run the risk of a skill check. His highest result is a three.

“The electromagnetic storm wreaks havoc with the ship’s systems, and we go into a dive. I manage to reroute power to increase shielding against the storm in time to bring the ship in for a landing, but it’s a rough one. The landing gear is damaged and will need to be repaired.”

Example the Third

While being pursued by vaccine thief enforcers, Jack Owen gets separated from the rest of the group and finds himself facing a dead end in one direction and a juiced-up thug in the other. Gary figures Jack can’t win the fight, and so his only hope is to escape over the wall. Unfortunately, Gary only has one Story Die left, but it’s better than nothing. He rolls and gets a two.

“Uh, bummer. How about this? Jack runs at the wall and jumps, just grabbing the top edge and pulling himself up and over. Unfortunately, he loses his balance and falls down the other side, suffering whatever damage is appropriate.”

Example the Fourth

Naiyah Ferobo has just grabbed the satchel of stolen vaccines when she hears the guards coming. Thinking quickly, Naiyah exits through the window and out onto the ledge running around the seventeenth story of the building. Fortunately, Naiyah has a relevant statement: “Agile as a mountain goat.” Naiyah attempts to climb down to the next floor to re-enter the building below the guards. Wes decides to use two Story Dice and gets a bonus Story Die for Naiyah’s statement. Wes rolls and gets nothing but ones. The GM takes over.

“Naiyah loses her footing and falls from the ledge. She drops three stories before she manages to hook a projecting decoration with the strap on the satchel. Naiyah is now dangling a 100-plus feet above the street with a precarious grip on a synthide bag. She’s not sure how much longer she can hold on, especially with that freshly wrenched shoulder.”

Tags: game play, story games