The Mist-Robed Gate: How it does in action

My dear Elizabeth has posted a great AP of the Mist-Robed Gate at the Forge, which unfortunately is being lame and keeps giving me 503 errors when I attempt to reply, so I’m going to post my aborted response here instead of losing it to the ether. If you were present at the game, or you weren’t but you have some thoughts, I’d love for you to share them with us.


I’m so glad you enjoyed it! I was very pleased with the way the knife ritual worked in play. I also want to thank everyone for, like, taking a risk and playing in the first playtest of my game; I know those tend to be kinda rough, and you all really contributed to the game in play, and gave me a lot of good stuff to think about.

It’s really great, also, to hear what worked in play, but let’s also talk about what didn’t…I am trying to remember what happened there, and the critiques from the table that I remember most clearly were:

  • The meaning of the distinction between viewpoint and non-viewpoint characters is non-obvious.
  • We would like a formal option for choosing who shall frame scenes and who may/must be in those scenes. There’s some opportunity for managing spotlight time in here.
  • The value of props and sets isn’t very clear; they appear to be simply colour generators, and that is not satisfying. Perhaps there is a way to add mechanical value here.
  • There is an issue with pacing of action scenes such as kung fu fights, namely, there is no guidance for this, and no incentive to have kung fu fights.
  • Sometimes it seems like the escalation of the knife ritual is premature or excessive; there could be a way to mitigate this.

Are there any major issues I’ve missed? I have some solutions in mind for these, but I’d like to know where the gaps in my observation are, too.

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3 thoughts on “The Mist-Robed Gate: How it does in action

  1. There was (in my perception) a point where additions to the frame narrative stopped being logical extrapolations of “the setup + there are some seekrits” and became twists-for-the-sake-of-twists, in sort of the long-running soap-opera incoherent way. This is arguably in-genre but is probably something there should be some sort of optionally usable systematic brake on.

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