• Darran Sims says:

    I run an episodic campaign as I have about twelve players interested in the campaign. Not all can make it to each session so their characters are simply not there. This is like a TV show where the focus for one episode is on three or so of the cast while the other cast members are not there or just in the background even though it would probably make sense that they would be involved.
    We get some good sessions that way and often get some interesting events happening. Plus some of the characters do really step up and shine.

    BTW what’s Mountain Dew?

    Darran Sims´s last blog post..Midweek Character – Annalee Call

  • admin says:

    Mountain Dew: http://en.wikipedia.org/wiki/Mountain_Dew

    I’m not sure it is available in the UK but in the states it is heavily linked to programmers, gamers and other nerds because of its high caffeine & sugar content.

  • Tommi says:

    I’d really have to take the quiz twice, once for games where we are creating a story on fly and once for old-school dungeoncrawling. The usual reason for character death is very much different.

    Further, how about games that are structured so that players not being present is not a problem? For example, in the dungeoncrawly thing, the characters whose players are present engage in an adventure. Others study spells or drink and whore or whatever is appropriate for their characters. In another game there always was a significant gap between stories and each session was self-contained story; the cast of characters has been different in each session thus far.

  • Ambrose says:

    I know it has been a while since this post, but I have a pretty good one. The only thing I have let a player character be killed deliberately over, was when a certain female player continually talked about how her ex-boyfriend ran his games. I have no problem with her ex’s style, as a matter of fact we hang out all the time and he’s playing in my campaign right now, and I played in his last spring. She just doesn’t get that we run different kinds of plots, with him doing mostly Kingdom-Building campaigns and me focusing on campaigns that involve being on the run. Pretty much opposite styles of campaign, but we stick to our strengths and have fun. I even opened up several opportunities for them to become established and build a kingdom, but she kept getting offended when negotiating for fealty, buying a palace, et cetera and killing the ambassadors, landowners, whatever. So she broke the law, and couldn’t understand why I made them go back on the run.

    The best I can come up with was that she was just pining after him. Not a particularly independent thinker, that one.

Leave a Reply