Author’s note: What follows is some teaser text for a gothic horror RPG campaign I’ve been running and am currently attempting to restart. I hope you enjoy it.
Life is cheap on the slopes of Mount Radu.
The boy has heard this from his father, spoken in bitter tones over cups of vocht, after the concertina ceased to bluster and old Nirri had fallen to snoring before the fire. He hadn’t ever really known what he meant. Now he think he knew.
The boy’s sister had found the crack in the basement wall. She, being a good girl, had run to tell father, and father had gone down with mortar to seal it. The boy had gone to sleep before father had come up, and then next thing he knew he was being shaken awake and had a beaverskin coat thrust on him and they were out in the bitter cold of the night, the snow crunching beneath their feet. Mother and sister would not answer the boy’s questions, and father was wild, crossbow looped over one shoulder, torch clutched in one white-knuckled fist, waving the flame at any shadows that looked suspicious.
They were to walk all night to the neighbor’s house, Veldavaya. The fir trees seemed to shuffle closer to them at night, and the boy breathed into his hands to keep them warm. His eyes darted towards the pale gray shapes the snow made on the tree trunks. Did that one move? Was that a light? An eye, like in old Nirri’s stories, red and hateful, gleaming in the flickering torchlight?
Where was old Nirri? The boy had asked, but no one had answered. Mother’s mouth got tight at the edges and she shook her head. The boy didn’t know what to make of it.
“Shhhh!” Mother hissed, but it was pointless–no one was talking. They did stop walking, though. Silence fell on them like a quilt. They huddled around the torch, eyes searching the dark, mouths open.
kruch-kruch…kruch kruch kurch kruch kruchkruchkruchkruch…
Little feet. Little hands. Scrambling through the snow like a hoard of greedy children. Coming at them from all sides, closer, closer, closer…
“RUN!” Father yelled. He seized the boy by the collar and dragged him, the boy’s legs flailing as he tried to get himself upright. Father wouldn’t give him the chance. He dropped the torch and tucked the boy under his arm like a hen. The pale glow of the starlit snow whirled before the boy’s face, pine-needles and icicles brushing by his raw cheeks. He heard his mother scream. He heard his sister shout his name. Father did not stop.
The sound of the little feet in the snow had become a stampede. It was joined by shrill cries and sharp little laughs, and the boy closed his eyes. Here they would die, just like in the stories. Dragged beneath the mountain, to be thrust in the stew-pot at the table of the Goblin King. The fate of bad little boys and bad little girls, just as old Nirri had always said. The boy wept and shouted he was sorry, but he didn’t know for what. He didn’t want to die. He didn’t want father and mother and sister to die for what he had done, whatever it had been.
Father fell to the ground and the boy landed face-first in a snow drift. He scrambled out in time to hear the cry of a horse and the thunder of hooves as they galloped past, huge and somehow blacker than the night. There were riders with torches and sabers. They dove into the underbrush without call or trumpet; the boy heard shrieks of dismay from the darkness and, somehow, he knew the goblins had gone. They were saved. The boy got up, trembling. His father took him by the shoulders and hugged him close.
Then the riders came back. There were six of them, clad in silver mail with snow-white cloaks. Their faces were covered by a mask of alabaster, showing an angelic face, serene and at peace, with black, vacant holes where the eyes should be. The riders surrounded the man and the boy and looked down at them both with those empty, black eyes. For a long time, no one stirred.
Father knelt before them. “My regards to Prince Ladislav, and my thanks. You saved us.”
“There is a price.” The voice came from one of the riders, but the boy couldn’t say which. It was thin, cold whisper, like rainfall on snow.
“Take me.” Father said.
One of the riders shook his head slowly, once to the right, once to the left.
“He isn’t old enough.”
“He will be, soon enough.”
“There is no other way?”
“Are you refusing the Prince’s protection, woodsman?”
Father bowed his head. “Never.”
The rider nodded. “Then follow us.”
Father rose and took the boy by the hand. He did not look at his son, though. Not again for that whole night.
This was how the boy learned just how cheap life is on the slopes of Mount Radu.
Author’s Note: So, as the last time I did this proved at least moderately popular, here is the teaser for the second mission in my Shadowrun: Hong Kong RPG. Different fixer, different contact in the party, but hopefully still entertaining.
To the average work-a-day slug, the Matrix is something they can hold inside their lives; a sliver of experience they can wedge between ‘playing with the kids’ and ‘getting that report to Mr. Hito’. It is comprised of a banal series of bank nodes and entertainment vids; ordering groceries and indulging in porn and the rest of the boring, simplistic nonsense that, apparently, passes for existence for the balance of metahumanity.
That, though, is the shallow end. That’s the Matrix kiddie pool, complete with lifeguards and water-wings. Those who know how to swim quickly learn that there’s a whole new world beyond that little rope with the blue-and-white buoys. The deep matrix, the dark matrix; there be monsters.
Well, not really; monsters are rare. There be pirates, more accurately. Pirates like you. There are entire kingdoms of pirates down there in the deep Matrix, organized into little islands of hackers, runners, and other people of the shadows, lurking beneath the glow and bustle of the shallow Matrix like predators of the deep.
Your particular pirate island is a place called Inside-OS (get it?). It’s a hacker collective, a combination social group and non-profit criminal organization whose primary qualification for membership is finding it in the first place. The VR landscape of Inside-OS is a comical re-imagining of the Smurf’s village from antique 20th century animation, but infused with every geek reference from Wayne Manor to a TARDIS to the mighty throne of Neil the Ork Barbarian.
Here, you are a warrior prince, a noted member – Slayer of ICE, hacker of mainframes, He Who Must Not Be Dissed. When you stride among the many smurfs (the lowest ranking members – very limited access), they part for you like the Red Sea before Moses. You can, if you wish, behead any of them with your digital katana, banning them from Inside-OS forever (unless they hack their way back in, at which point they are immediately promoted to ‘member’ and can use their own avatar). All told, there are 352 members of Inside-OS and, of them, 278 are smurfs – eager to help, eager to impress, hungry for more respect in this elite pirate kingdom of the deep matrix.
You maintain a pagoda on the outskirts of the node. Surrounded by moat and drawbridge and guarded by stone lions that flank the entrance, this is ‘where’ you spend much of your time when jacked in. It is your electronic home, more personal to you than that hole of an apartment in Mong Kok where your meat-self is forced to exist.
You are in the process of meditating over the best way to hack into the Mitsuhama mainframe to send your mother a birthday card (just as joke) and yet avoid getting her in trouble when the lions out front roar out a challenge – you have a visitor. There, standing at the edge of the drawbridge, is simplistic stick-figure man wearing a hat in the style of a telegram delivery man from the early 20th century. He (though ‘he’ is a stretch – this is clearly a program) is holding a hypercard; its clean, and postmarked as being from Snafu, your fixer. You take the card, and you’re linked to a live-chat that’s being bounced through a half-dozen nodes from Hamburg to New Dehli.
Snafu’s face is an impressionist painting that shifts in color and hue as you look at it. Today, it’s a Van Gogh’s Starry Night. “‘Sup, holmes?”
“On the clock.” You respond. “Go.”
“Well, I got something for you that I think you’re gonna like. Deets are on the card, baby, but here’s the precis: Big deal set to go down between Hildebrandt-Kleinfort-Bernal and Renraku Computer Systems; big cheese at Renraku is set to have a face-to-face with big cheese at HKB at the Renraku corporate retreat – an estate near the top of Victoria Peak. Swank place, tight security – check the specs.”
“Okay, but what’s the job?”
You can’t tell, but you think Snafu is smiling. “Criminal landscaping.”
“Serious. Mr. Johnson wants you to bust in and move some shrubs around, mess with a few statues, replace a few rocks – shit like that. He’s got a whole presentation on the card, man – not making this up.”
Typically, in the rest of the shadow world, your fixer doesn’t know what the job is. Snafu is a hacker, though, and being nosy is his job, so you aren’t offended. You’ve known him for years and he’s a proven friend. If he says that’s what the Johnson wants, then that’s what the Johnson wants. “So, we break in, change around this garden…”
“…without anyone knowing. Best to do it just before the meeting starts, right, so they don’t have time to inspect and, you know, redecorate again.”
“Dude, don’t tell me how to do my job.” You scowl at Starry Night for a second, “So that’s it? Break in, redecorate so they don’t notice or don’t have time to change it, then get out. That’s it?”
“What’s the pay?”
“No shit. Betcha they don’t pay their actual landscapers half that.”
You turn the card over in your hands – on the back, the icon to connect with Mr. Johnson is there, glowing faintly. “Man, I’d be an idiot to turn this one down.”
A couple years ago, whilst I was still hashing out a novel set in Alandar, I decided to run an RPG set in the world. I adapted Wick’s Roll-and-Keep system, got a bunch of my friends to play, and so on (the focus of this post isn’t really on those particulars). Before the game began, I had my players vote on what kind of storyline wanted to deal with most in the campaign. The categories were ‘Exploration’, ‘Intrigue’, ‘Romance’, and ‘Military’ and each player had 100 points to distribute. When the dust settled, the party had voted overwhelmingly for Intrigue and Military while Romance came in third. Almost nobody wanted to explore.
Now, one of the things I knew was going to be essential if I was to run a campaign with a significant military element: I needed a way to adjudicate large battles that would both allow for the players to have control (more or less) over the actions of their army while simultaneously allowing for individual acts of heroism. Now, as it happens, the 7th Sea core rules (Roll and Keep system, Wick) had a system for running mass combat, but it didn’t work too well for me. Accordingly, I do what I almost always do with the games I run: I fiddled with it to no end.
The basic premise of the old 7th Sea system was that each player would pick their level of engagement in the battle (whether they were in the thick of things or way back in the reserves) and they would roll on a table that would determine if they had heroic opportunities or not. These opportunities were various things like ‘claim the enemy banner’ or ‘duel the enemy general’ or some such and they could add to your reputation, get you wounded, and help tip the battle this way and that. The battle itself was essentially decided by a dice off between generals. If you won three rolls in a row, you won the battle.
Now, I’m a fan of strategy games, military history, and military strategy in general, and this system left me a bit flat. The battles themselves were just window-dressing for heroic derring-do and little more. Now, this works great in a swashbuckling game like 7th Sea, where the nitty-gritty of strategy isn’t really part of the game. It wasn’t going to work in my Alandar campaign, where I had two and later three characters who were heavily involved in military campaigns. So, here’s what I changed:
Armies Are Characters
I made the armies themselves (or, more specifically, the divisions or regiments of those armies) into ‘characters,’ much like ships or vehicles. They had a set of characteristics to adjudicate their armaments, morale, mobility, discipline, and training. This changed the battle from something abstract to something more concrete and, since the system lent itself to duels, battles simply became duels between ‘characters’ comprised of tons of NPCs. I gave everybody sets of maneuvers they could use (advance, charge, flank, shoot, envelop, hold, withdraw, etc.), crafted specific advantages armies would have over each other, and established a rudimentary system for game balance. I will not claim it is perfect, but it worked well enough.
Battles Are Session-long Events
A major battle in a war is not a simple affair. Before the armies even take the field, there is weeks of skirmishing, supply lines to maintain, ground to scout out, enemy movements to spy on, and (in the case of Alandar) ritual magic to decide upon. I could get every player more-or-less involved with the planning and execution of these battles, even if they weren’t warriors, per se. The battles themselves would go on for a long time and, within them, there would be multiple different opportunities for individual heroism, periods of dialogue, and even skullduggery that could be committed against each other.
It’s All About Morale
In war, and particularly in pre-modern war, the plan isn’t really to kill all the enemy combatants, as that rarely is achievable or happens. The plan is to break the enemy army’s morale; if they no longer wish to fight, the war is over. Morale was sapped by casualties; the longer a battle went on, the more morale was sapped on both sides. There were occasions during the campaign when one side or the other would sound a retreat long before their forces broke, knowing that having a cohesive army was better than risking losing the whole thing on a gamble. Winning battles and engagements enhanced morale, but not by so much that you could willy-nilly charge your guys at that fortified position and expect to come out scott free (unless you were a particularly inspirational leader, that is). The PCs who were the generals of the armies in use had to be very careful keeping their army together, which in and of itself was a campaign element and recurring challenge.
The result of this system was, to my eyes, quite successful. My friends in the campaign still talk about the Charge of Atrisia against the 4th Kalsaari Heavy Legion, they still grin at the Sack of Tasis and shudder over the bloody fields of Calassa. Their characters became legendary figures in the history of the world and the war they fought in – The Illini Wars – I’ve made an integral part of Alandarian modern history. The Treaty they negotiated to end the war with the Kalsaaris was a two-session long arc in which there was more back-stabbing, political plotting, and nerve-wracking negotiations than at almost any other time in the campaign. I showed my players a map – a map they had bled and worked and even died over for the past 5-6 months of gaming – and told them to list their demands. I countered, we haggled, and in the end they negotiated a treaty they hated but that was the best they could do. They’d won against all odds, and I like to think I gave them the closest thing to being a Napoleon I could.
In the end, what I learned was that running a military campaign requires players who want to be in a military campaign, just like anything else. If you have players who want that kind of game and you work hard to give it to them, some pretty crazy stuff can happen.
Everybody likes to laugh in an RPG, but so few players are willing to make their characters comic relief. Everybody is usually in some kind of contest to be the coolest, toughest, scariest, or most impressive. Not so my friend, Joe. In the very same 7th Sea Campaign that featured the stalwart and inexorable Helmut Dauben Kohb, Joe played Avalonian (i.e. English) expatriate ‘Lord’ Edward du Charouse, who was actually a Marquis, and that only by marriage to the lovely Michelle du Charouse, reputed to be the most beautiful woman in Montaigne (i.e. France). This character was, hands down, the most ridiculous, hilarious, and wonderfully fun character I’ve probably ever had in a game. Let me tell you why:
Joe built his entire character around three things: (1) A Romance background with Michelle, the stereotypically fickle and spoiled Montaigne noblewoman, (2) the Lecherous flaw, meaning Lord Edward was pretty much constantly trying to score with any attractive woman he saw, and (3) the Dangerous Beauty advantage, meaning women were drawn to him like flies. Throw in the fact that he was an arrogant fop, a blissfully ignorant dilettante, and a pretty talented duelist, and this resulted in an absolutely enormous amount of trouble that followed Edward around, everywhere he went.
You see, Edward cheated on Michelle constantly. With anything. All the time. He’d have relationships or attempted relationships going with every single young female NPC in the game at the same time. He wasn’t clever about it, either. He once, for instance, invited two women for a romantic evening walk in the gardens of a Vodacce prince at the same time and spent the whole scene finding excuses to leave one alone, scale a wall, and return to the other one. One of these women was a deadly swordswoman and bodyguard to the archvillain Villanova. The whole affair did not end well.
Furthermore, anytime Edward was caught cheating or even paying attention to another woman, Michelle would throw him out of their château. Michelle was the one with all the money, all the prestige, and all the influence; without her, Edward couldn’t possibly live to his standards. So, regularly, we would embark upon epic plots to regain Michelle’s love, punctuated by ridiculous side-adventures, such as vows made in court that he could ‘fence a bear’ (didn’t go well), that he was on ‘a secret mission from the Musketeers’ (he never was), or other similar egocentric activities. I don’t think we ever laughed harder in a game, my friends and I.
How Edward Dealt With His Problems
The best part about Lord Edward was Joe’s unflinching willingness to get him into massive amounts of trouble all the time, for any reason. You know how most players spend all their time trying to avoid complications, planning their assaults on the enemy castle with painstaking detail and with buckets of backup plans? Not Edward. He just waltzed right in, assuming his pretty smile and his money and, failing that, his skill with a blade would make it all work out. It regularly blew up in his face, got him and the rest of the party in huge amounts of trouble, and the adventures that followed with them trying to get out of that trouble were simply priceless.
There was this one time that the players got their hands on a small ship that had its ballast replaced with gold bars. There was so much gold there, they could have bought entire kingdoms with it. This, everyone knew, was the tip of the iceberg of some sinister plot that the PCs would spend the rest of the campaign unravelling. They knew whoever’s gold this was wouldn’t hesitate to kill them all if they were discovered with it. So, when they sailed into port, everyone agreed that they were going to keep the gold secret.
So, when most of the party left and put Edward in charge of the gold, what did he do? He grabbed a whole gold brick, walked to the nearest brothel, threw the gold down on the floor and said ‘there’s more where that came from, ladies!’ When the players got back, their ‘secret’ ship had become a party boat, with Lord Edward engaged in an orgy with half the whores in port, throwing gold around like it was water. Absolutely hilarious and it got them in incredible amounts of trouble. The Vesten rune mage with them also blew Edward out the back of the boat with a lightning bolt. Good times.
I won’t even get into the time that he, during the game’s version of the French Revolution, founded ‘Lord Edward’s Home for Wayward Women (No Ugly Chicks).’ That didn’t end well, either.
Nevertheless, Edward remained charming and likeable, even if he was creepy and arrogant and chauvinistic. He managed this by always realizing how wrong he had been and making it up to those he cared about, often at great physical risk to himself. Still, for all his attempts to go the straight and narrow, everybody knew he would fall again, do something foolish, and the ridiculous swashbuckling fun would begin again. All this, by the way, as a result of a player, Joe, who knew that fun in an RPG isn’t about avoiding trouble, it’s about going out there and finding it, even if you need to make it up yourself.
Play like Lord Edward everybody. Your games will be better for it.
About six years ago now (wow – how times flies!) I ran a Star Wars RPG campaign. Its structure was to mimic a trilogy of Star Wars movies – tightly paced, action-packed, complete with credits, text crawl on starfield at the start, a full cast, etc.. The players knew going in that the game wasn’t going to be as ‘open-ended’ as some other campaigns I had run, in that we had plot points to hit and a pre-defined conflict to resolve. The three ‘films’ would take place between Episode III and Episode IV and covered the founding and establishment of the Rebel Alliance. They wound up being great, great fun.
Cast of Characters
- Cordelia Algodon: The Last Jedi (so far as she’s aware), who’s been on the run from the ISB and Vader ever since the Jedi holocaust of Episode 3. A Padawan who saw her master murdered before her eyes by ISB Operative Sammar, her story arc saw her midwifing the Alliance into existence and, finally, sacrificing her life to ensure its survival. Played by my friend Melissa.
- Bi-Fi Doon: A space pirate played by my friend Bobby who winds up finding his calling as the fledgling Allaince’s best operative. Love interest of Mon Mothma (who was a major NPC). Partners with Heidel Thann (played by my friend Fisher). Wound up as one of those bearded guys in the background at the Battle of Yavin
- Heidel Thann: First officer aboard Doon’s pirate vessel, the Totally Legitimate. Though Doon retained his skepticism of the Alliance’s high ideals, Thann jumped in with both feet. Wound up being the founder of Red Squadron.
- Kthaar, DC4P, et al.: There was a disaffected Nohgri Assassin, a grumpy protocol droid, and a variety of guest stars, all PCs, and, while they were all awesome, they weren’t central to the main plot of the ‘films’
- Sammar: An Imperial Security Agent hot on Cordelia’s tail (and secretly in love with her). He is trained in the Dark Side by Palpatine in secret from Darth Vader (Palpatine was grooming him as an insurance policy should Vader betray him). Sammar killed Cordelia’s master prior to the start of the first ‘film’.
There were other characters, too, but I don’t want to bother going too in-depth here. Suffice to say we had a whole functioning trilogy with lots of awesome moments and tons of fun had. It’s very possible what we did conflicted with the Expanded Universe (I never read much beyond the Timothy Zahn novels), but we didn’t care (hell, Lucas doesn’t care, either, so whatever). Episode 3.3, Freedom’s Embers, involved the PCs rescuing Mon Mothma from Coruscant and establishing a safe haven on Dantooine; 3.6, Clash at Corellia, involved the theft of the plans for the X-Wing fighter and the rescue of key scientists from the Kessel Spice Mines; Episode 3.9 was about the recruitment of Admiral Ackbar and the first naval victory of the Alliance over Mon Calamari.
I even went so far as to write up trailers for the films, and, to be honest, if someone gave me a chunk of cash to write and produce the things we came up with here, they would make damned good movies. Anyway, what follows in the trailer to the second episode. I hope you enjoy it:
INT: MEETING HALL: NIGHT
(Mon Mothma stands at a podium. It is dark, and the shadows of various aliens in a variety of martial and rugged attire hang on her every word.)
To the Emperor Palpatine, we say this:
EXT: ORD MANTELL MARKETPLACE: DAY
(Sammar emerges from the crowd, blaster in hand, and shoots Tamik in the back of the head)
MON MOTHMA (VOICE OVER)
You have murdered and imprisoned millions…
(We see Cordelia in the crowd, screaming)
(A fleet of Star Destroyers comes into orbit around a blue-green planet)
MON MOTHMA (V.O.)
You have stolen our land and our property…
(We see TIE fighters strafing a city)
EXT: BARREN MOONSCAPE: DAY
(Stormtroopers stand watch over a prison-camp, where exhausted slaves trudge into the depths of a mine)
MON MOTHMA (V.O.)
You have used your military for the sole purpose of oppressing your subjects.
(We see an old man collapse. A Stormtrooper stands over him, takes aim, and as the blaster fires we…)
INT: MEETING HALL: NIGHT
(close shot of Mothma, her voice hard)
This will not stand. We will fight you.
(As Mothma speaks, the following images are seen:)
(A heavily forested world where ancient ruins pierce the trees)
MON MOTHMA (VO)
So it is that we…
(A shot of Rebel pilots running to their Y-Wings)
MON MOTHMA (VO)
…the free beings of the Galaxy, do solemnly pledge…
(A shot of Doon running a hand along the underbelly of the Legitimate)
MON MOTHMA (VO)
(A shot of Cordelia and Sammar raising their lightsabers in a dark hall)
MON MOTHMA (VO)
(a shot of K’thaar leaping in front of somebody to take a blaster shot)
MON MOTHMA (VO)
…and our lives…
(a shot of a massive space battle between Star Destroyers and lots and lots of corvettes)
MON MOTHMA (VO)
…until the Empire is destroyed…
INT: MEETING HALL: NIGHT
(close shot of Mothma)
…or we are.
(following images flash across the screen)
(A giant Imperial wheeled vehicle smashing through walls)
(Cordelia engaged in lightsaber duel atop some kind vehicle at high speed)
(A man throwing a tarp off of a concealed object)
(DC4P fleeing an explosion)
(The Legitimate pursued by TIE fighters)
(Cordelia running through an ancient stone hall)
INT: STONE HALL
(Cordelia stops up short, her lightsaber drawn, her face terrified)
(block lettering appears: “Episode 3.6: Clash at Corellia)
(Vader’s tell-tale respirator starts up)
No more running, little girl.
(block lettering: Coming 11-13-05)
So, a week or two ago I mentioned I should tell you folks about Helmut. Now seems as good a time as any.
Helmut was a character in a 7th Sea campaign I ran from 2001-2004 or so (give or take–don’t remember exactly). He was a landless Eisen (German) knight with a stain of honor on his family, a grim demeanor, and a tendency to be a little *too* patient (he had the ‘Indecisive’ flaw). He was played originally by my friend Mike and then later by my other friend Will after Mike moved to San Francisco (the character was too integrated into the plot to simply delete at that point).
Helmut was also a member of the ultra-secret Kreuzritter organization and a warrior of the Eisenfaust style, which involved a broadsword paired with an armored gauntlet. The style emphasized defense while waiting for an opponent to make a mistake, and then raining down horrible misery upon them with one massive swing. When Mike first made the character, we had no idea the Eisenfaust school either (A) actually worked as described or that (B) its patient style would dictate Helmut’s character from then on.
The first time Helmut ever used Eisenfaust as intended was in a duel against a man who saw Helmut’s family as cowards. This guy was almost Helmut’s mirror image and the battle was brutal. In 7th Sea, you can take as many Dramatic Wounds as double your Resolve before being rendered helpless. Helmut took 4 in the first two rounds of combat…and then proceeded to score 6 unanswered wounds to knock his opponent out. It was amazing–we hooped and hollered and cheered at Mike’s good fortune and at the awesome comeback. What we didn’t realize at the time was this: This was not a fluke.
Impossibly, and beyond all probably likelihood, Helmut was quite literally invincible. The funny part was that he always, always got his ass kicked in the opening rounds of a fight. If he had 8 wounds to deal with, he’d get 4 (i.e. become crippled) without doing much in return. Then, however, was when Helmut got serious. That was then the magic happened.
Sorely injured, often disarmed, flat on his back, exhausted, broken, battered, covered in grime, looking up through half-closed eyes at his foes celebrating over him, Helmut would slowly pull himself to his feet.
That was when I’d cue up this song.
We then sat and watched Helmut kick more ass while half-dead than he ever did while fully alive. He struck down an evil master swordsman and sorcerer after being tortured for months on end; he wrestled a giant bear-demon on the bottom of raging river (while drowning, mind you) and strangled it to death with one good hand; he’s get shot with an entire squadron of muskets only to grimly advance after the volley and slaughter every one of the bastards as they ran. There was, as far as we could tell, literally no limit to what Helmut could do if you gave him time. He was like a glacier–shoot him, stab him, run him down, but it didn’t matter. He was coming for you, and there was no escape.
What made the whole thing even stranger is that it was in no way tied to any one person’s luck–Mike and Will had the same luck with the guy; people who subbed in playing him from time to time would report the same phenomenon. Bad luck until crippled; incredible luck afterwards. The guy was magic.
Gradually, his character morphed from a young, serious, stalwart man to a grim, scarred, terrifying specter of death. His mysterious Kreuzritter training came more to light as we went along; he’d disappear at odd times, kept his own counsel, and you could never quite tell if he was friend or foe. He was the one guy nobody in that campaign wanted to mess with. His arch nemesis? The villain of the campaign–Gavin Fell, assassin and traitor to the Kreuzritter. Fell was quicksilver where Helmut was lodestone–he fought with knives, blazing fast and deadly accurate, cutting a man to death with dozens of blows before you could ready your defenses. Helmut, though, in the end, fought Fell on a narrow bridge over a bottomless chasm and took those knife cuts over and over and over, nearly bleeding out. Then, when he was on his knees, his throat cut, crippled and near death, he stood up.
Then we played the song; then we watched the magic.
When people ask why I play RPGs and wonder how I can get so excited about the things that happen, Helmut is who I think of. Yeah, he wasn’t real, but he felt real–every bit as real, anyway, as any character in any book I’ve read or movie I’ve seen. He was awesome, no bones about it. He wasn’t the only one, by any means–there have been others. Perhaps I’ll tell you about them, too (like Ruin or Galdar, Hool and Lord Edward, Finn Cadogan, Carlo diCarlo, or the Crew of the USS Lionheart), but I wanted to start with Helmut–the most badass character I’ve ever seen.