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Thursday, May 23, 2019

The Sword Chronicles: Child Of The Empire By Michaelbrent Collins, Book Review


She was a dog with no name who was brought out of the kennels where she fought with her pack to become a young woman and a Blessed One. She didn't remember her past, only surviving. Now she has friends, and they are becoming more than friends, they are becoming her family.

The Blessed Ones work to protect the Empire from those who would overthrow the powers that be. And Sword learns there is more to the struggle than she thought. Her loyalties are tested. Her history is torn open for viewing. She must determine who is right, who she will help, and how to save those she loves.

I received a copy of The Sword Chronicles: Child of the Empire for review purposes.

Plot

Sword starts out with no name. She's just another dog living in the kennels and fighting in the arena with her pack. Although they are children, they are a pack of animals. They have no names and no friendships. She knows every time she enters the arena could be her last and she has done well to survive where many have fallen.

Her life changes when it's discovered she has a gift. Her gift allowed her to survive her last encounter in the arena. It gave her recognition. It raised her from being a dog to becoming a Blessed One working for the Empire and the Emperor. A gift that gave her a name: Sword.

The Blessed Ones protect the Empire. And in protecting the Empire they must confront others who are against it, and their ideals of why they fight against the Blessed Ones, Sword's new friends—family.

She is no longer fighting in the arena as a dog. Now she is fighting in the larger arena of the Empire and must either be a hero or a villain. But how does one know which is which?

Characters

In Child of the Empiresome people display  special talents. Of those who display these talents there are a few whose gift is  stronger than others. It is not known who will display a talent or a gift until it manifests itself. There is no understanding of why or how those who have these abilities  get them.

This story is about some of the gifted, those with stronger talents. They must choose how to use their gifts, which sides they take and why. We learn about their pasts as the story progresses. Each is a study in how people choose to use their own gifts of life to deal with their own hardships, desires, and needs. How they can do the things they do, and still be true to themselves.

There are similarities to be drawn with people all around us. We might not have supernatural gifts, each, no matter their gift, is in control of themselves. Each gets to choose. These internal struggles drew me into the characters. It gave each of them a solid backstory that started before page one and developed through the pages while I continued to read.

Style

In many ways Child of the Empire plays off the traditional telling of a hero being raised from the pits of humanity to become the hero we expect them to be. At the start of the book I felt the impressions of Conan the Barbarian with the rising as a fighter in the slave pits. Michaelbrent Collins embraces that fact instead of trying to hide it. Even knowing this is a similar story, Child of the Empirebecomes a unique telling with its setting and the gifts the characters have, which, in turn, create fitting twists.

So far I have read two other books of Michaelbrent Collins and found he is masterful at providing the foreshadowing to set up excellent twists. Even when you know what the twist is going to be, there are enough red herrings scattered through the story to keep you guessing. And, when you are suckered by one of the misleading hints, it's even more enjoyable.

Overall

The Sword Chronicles: Child of the Empire is a fast paced hero story. If you're not running to keep up, it will grab you and drag you along for the adventure.

Michaelbrent Collins hangs his hat on a traditional story type and tells it in an intriguing fashion that is enjoyable and fun. I found myself not wanting to put down the book as the story kept ramping up. I applaud his unique application.

Child of the Empireis a good read for everyone. There is violence with the fights taking place and starts with an arena fight of two packs facing off against each other. The descriptions, however, are not graphic.

I have books two and three in line for reading and reviewing. I'm looking forward to when they are at the top of the pile—I might adjust the pile.

I give The Sword Chronicles: Child of the Empire 5 out of 5.

Child of the Empire is available on Amazon (link).

About the Author (from the book)

Michaelbrent is an internationally-bestselling author, produced screenwriter, and member of the Writers Guild of America, but his greatest jobs are being a husband and father. See a complete list of Michaelbrent's books at writteninsomnia.com.

You can also find Michaelbrent Collings on Twitter (twitter.com/mbcollings) and Facebook (facebook.com/MichaelbrentCollins).

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

You can also join Guild Master Gaming on Facebookand Twitter(@GuildMstrGmng).


Top 13 Highest Paying URL Shortener to Earn Money Online 2019

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Bonus Track - Quietest Room

This is a short bonus track about how I got to fulfill a childhood fantasy years after I forgot about it. I hope you enjoy it, thank you for listening.

Anechoic chamber in Bell Labs, Murray Hill
Anechoic chambers by Michael Pettersen on Shure's blog
Anechoic chambers by Jaime Sunwoo on Nova's blog
Live music from Murray Hill's anechoic chamber

[Three Hexes] The Resistance Versus The Supers!

Campaign:  The "Last Great War" (World War 2) ended abruptly in 1944 when the Axis superhumans ("supers"), Der Ubermensch, La Donna Meraviglia and Sugoi Samurai, displayed their powers in Russia, Africa and the Pacific respectively. Today, the world is ruled by the Triumvirate Powers and all others have been slave-states, watched over by the Axis supers who act as overseers. In the region that was the United States, a resistance group "Sons of Liberty" fight against the Axis Occupying Forces (AOF) while dissident scientists work in secret to find measures against the Axis supers and regain their freedom.

Homebase (Hex 0) (0101): Lakeside - This Great Lakes city is watched over by Übermensch Drei and a large force of German and Italian AOF soldiers. The city is to be the site of an upcoming meeting between German, Italian and Japanese high level officials. The Sons plan on kidnapping secretaries and deputies of those officials to get information on plans for the factories that are increasingly polluting the waters and sickening the people, as well as any details that will help the Resistance.




Three Hexes
(Hex scale is 24 miles)

Location 1 (0202): Town of Cityville - This sleepy suburban town is the center of activity for a special cell of the Sons, consisting people who've been training and taking experimental drugs to give them small extra-normal abilities against the Axis forces. They hide in plain sight as ex-veterans of the war; managing to hold off the effects of aging on their bodies through serums. They are protecting the scientists who are eagerly awaiting arrival of the alien equipment from the Dig Site, and fearing that the AOF may have already penetrated their secret group.

Location 2 (0203): Verschuer Army Barracks - An armored and airborne cavalry division of the AOF (known as the "Grun Shirts") support Drei as he monitors the region in and around Lakeside and the eastern Great Lakes. During recent training of a new set of cadets, he was actually injured by a young woman, whose touch caused him great pain! This has not go unnoticed by both the Sons, who want to draw the mutant over to their side, and the training commandant, who will contact the Office of Science and Health to take her away for cleansing! 

Location 3 (0302): Dig Site - A secret archaeological excavation, disguised as a construction project, has discovered four large metallic flying vehicles that date back almost 150,000 years ago; they contain advanced medical equipment that have strange effects on humans. One brave test subject is already exhibiting signs of super strength and ability to walk through solids! The Sons are trying to move the objects to the town Cityville, but a collaborator has tipped off the police and they're planning an ambush for the convoy. 



"Three Hexes" are simple campaign starters to show that you don't need to do a lot to have interesting settings for people to play in. Feel free to use these in your game, campaign or as ways to spur on your own creativity and imagination!

I've purposefully left a lot of detail out because these are supposed to spur on your imagination! The scale is what I would use in my own world, but if something else suits you better, then go for it. I may have the features moved about on the hexes for clarity, if they don't suit you, move them!

Creative Commons License
Three Hexes by Michael "Chgowiz" Shorten (chgowiz@gmail.com) is licensed under a Creative Commons Attribution 4.0 International License.

2665, Front Line!

We bring the #SummerOfTanks to a close with the wonderful Front Line by Coleco, a run and tank game kinda similar to Commando (which will be an episode in 2045). I hope you enjoyed the #SummerOfTanks because that will be the last themed season that I do on this show. It just happened to work out that way. Next time I'm covering Bobby Is Going Home, a very special PALcast requested very gently by my friend Rama. Please send in your feedback no later than 6 pm EST on 11 September. Thank you for listening and enjoy the rest of your summer, of which we have three more weeks. No matter what schools and pumpkin spice lattes say.

Pertinent Tanks

Front Line on Random Terrain
Front Line on KLOV
Ed Temple interview by Scott Stilphen, Joe Santulli, and John Hardie
Jim's Ferg demo. Thanks Jim!
No Swear Gamer 472 - Front Line
No Swear Gamer Front Line gameplay
Eugenio's interview with Brian Colin
Zero Page Homebrew Video Games on Facebook

MARCH 25Th DreamForge Grav-StuG Kickstarter!







We have a date! I hope to see you there....







Even if this is not something that you can manage at the moment or if you simply are not interested in this particular kit, if you know someone who might be... give them a heads up!

Thank you!
Mark

Some Final Remarks On Milo Yiannopoulos






"Controversial, critical, confrontational, and challenging speech is an essential part of any successful college education. Without it, institutions of higher education cannot truly be said to be preparing students for the world outside of the ivory tower."

- Lee Rowland, Senior Staff Attorney at the ACLU Speech, Privacy, and Technology Project


Some time before, I wrote an essay defending the right of Simon and Schuster to publish Milo's terrible book Dangerous. Given how much has changed has since then, from his pedophilia comments, to Milo losing his book deal, to the revelation he's a Nazi sympathizer, I think that I owe it to everyone to comment on the recent events.


I) It shouldn't have taken affiliations with Nazis and flirtations with pedophilia to exile Milo from the public discourse.

Despite clearly being an asshole, whose only ideology is to piss off liberals, Milo had a near unstoppable rise. From courting disaffected gamers during the "Gamergate" controversy, to courting conservatives annoyed with "political correctness" in college campuses. No matter his repeated insults towards transpeople, feminists, Muslims, and black activists, he still had an active fanbase who treated him as a valued intellectual mind. Only when it came out on the Drunken Peasants podcast that he found consent an oppressive concept that prevented older men and young boys from having healthy sexual relations that the first major blow to his reputation was made. The few who stayed around him after that were made all the more embarrassed when Buzzfeed revealed that he referred to child abuse victims as "whinging brats" and sang "America The Beautiful" to Richard Spencer and his white nationalist loons. Nazism and pedophilia are still taboo enough to merit widespread ostracizing, but it also reveals how shamefully low our standards are for moral outrage. That his popularity persisted for so long lays bare how much bile people will permit in the name of defeating their political opponents.


II) Publishers have the right to refuse book deals to aspiring authors and to cancel their contracts.

A publisher is not obliged to publish the works of any writer who comes to their door. Being a private business, they are free to be selective about whatever they wish. So just as S&S was well within their rights to publish Milo, they were also well within their rights to refuse him as well. Books get cancelled all of the time for all kinds of reasons, some clever and others stupid, what S&S did was not outside of the norm. As terrible as it is to lose a book deal, there are always other publishers negotiate with, and there's also self-publishing.


III) That being said, S&S still should have published Milo's book out of principle.

S&S's initial defense of publishing Milo's book was that they did not approve of his views, but that the publication of his book was in defense of free speech and the free exchange of ideas. Of course, Milo's regressive ideas weren't worth any exchange, but much the same could be said for a great deal of garbage that gets published online and off. S&S knew full well how harmful Milo's views were, but they sponsored his book anyways in the name of free speech. You live and you die by that principle. If a publisher wishes to go about printing books which contain inflammatory and offensive views, so be it, if that's their nature, but to then cave to pressure once Milo's colorful views on consent came out reveals that S&S had no principle to begin with. It reveals that their tolerance of offense was reserved only for child abuse victims, but not feminists, black activists, or transpeople. Were they truly acting out of the principles of free speech, they would've printed his offensive speech and weathered the consequences of criticism and boycott.


IV) It's also disturbing that many liberals tried to stop the publication of a book, however ugly the content.

I am opposed to all forms of book burning, even those which seek to set fire to the presses that publish them. A truly free society should allow publishers the freedom to release any text, no matter how hateful we may find its contents. It isn't in the place of anyone, be they liberal or conservative, to police which books they are or aren't worth publication. Those who don't like Milo's views have the option of either refuting his claims or ignoring his idiocy. People who read Milo's gobbledygook with any enthusiasm or agreement are afflicted with a moral rot that no book ban can cure. They have multiple venues for reading such pestilence and being in Milo's corner, will certainly find them. The book ban campaign was also a gift to Milo's narrative that he's being victimized and silenced by the Left. S&S only cancelled the publication of Dangerous because they didn't want to be associated with a pedophile. Had Milo's comments never come forth and had the deal been cancelled out of pressure alone, Milo's case may have been only further empowered. Dangerous, of course, was eventually self-published online, but self-publishing, it should be said, is a very limiting and superficial means of getting your word across. This is not to say that one has a right to get their book printed by a publishing house, but that the overall effect is censorious to a significant degree. The Left should dispose of these tactics, lest they spread to the other side of the political aisle, and lest they be used against offenses far less damaging than anything Milo's written. In fact, there are books in publication by people who have done acts far worse than Milo. Dick Cheney, for instance, is responsible for instituting a torture program of waterboarding, and yet he has books in publication to no loud outcry. Nor do I believe that Cheney should have his books removed or be prevented from publishing, as they wouldn't solve the root causes that led to Cheney's actions in the first place. In light of all this, it is no surprise to me that the organizations like the American Civil Liberties Union, the National Coalition Against Censorship, the Index on Censorship, and the National council of Teachers of English all wisely opposed any measures to prevent the publication.


V) People need to stop blindly aligning themselves with those who are "politically incorrect." 

Emboldened by they heavy criticism that Trump has been receiving, it seems that many conservatives have embraced the opposition politics of "the enemy of my enemy is my friend." Christina Hoff Sommers, who professes herself a "factual feminist" had no problem speaking with Milo at a university, and neither did talk show host Dave Rubin, who cheekily refers to himself as a "classical liberal." Even the "liberal" anti-Trump late night host, Bill Maher, whose smugness grows more obnoxious by the day, was so impressed by Milo's antics, that he compared the pretentious provocateur to the late polemicist Christopher Hitchens. This was an insult so vacuous that it makes me question Maher's reading comprehension abilities. Needless to say, Maher's own views on consent between women and boys are just as troubling as Milo's, so perhaps they've found a common kinship.

A common strain in these three alliances, and others, wasn't an explicit support for Milo, but to portray him as an inevitable consequence of the Left's "illiberalism". It is certainly true that many responses Milo received from the Left didn't help, but the blame for Milo's rise is first and foremost on the Right. College "Republicans", if they can be called such, were always the first to invite him on campus, as it appears that the new conservative ideology is less about fiscal responsibility and more about "triggering liberals." And it wasn't only college students. The Conservative Political Action Conference (CPAC), a meeting run by the American Conservative Union, which hosts presidents and congressmen, saw it fit to have him represent their philosophy, and only relented at the low bar of pederasty apologia.

If Milo is the inevitable consequence of anything, it's our Manichean discourse around the term "political correctness." The basic critique of "political correctness" refers to the overreach of liberal sensitivity that either prevents needed discussion of controversial ideas or trivially threw around the claim of bigotry without any regard to alternative explanations. "Political correctness" is real, though marginal, problem, and both sides of the political spectrum indulge in it. We should able to discuss controversial ideas without fear of causing offense, and we should also scrutinize accusations of bigotry that hold little merit, but in the consistent efforts to lash out against the excesses of "political correctness" have fostered a collective amnesia over what the term had originally meant. Ideally, the concept of "political correctness" refers to an evolving awareness and sensitivity to other groups whose humanity had not been fully considered in the past. When people focus only on the excesses of this ideal, they not only deny themselves productive conversation, but also allow others to hide their bigotry under the veil of "political incorrectness." Simply because a statement is offensive or outrageous doesn't make it a concealed truth or a provocative argument. It's akin to shouting obscenities in a church and masquerading as Voltaire. As libertarian feminist, and former Milo ally, Cathy Young, has said of the Breitbart bete noire, "First, taboo-breaking "ironic bigotry" will inevitably serve to normalize and spread real bigotry--which, while much rarer than it once was, is hardly extinct. Second, the effort to destigmatize racist, sexist, or homophobic (let alone neo-Nazi) speech is likely to boost "social justice" extremism on the left, feeding a vicious cycle. It will lend credence to leftist claims that "political correctness" is simply basic decency and respect toward women, minorities, and gay or transgender people," (The Observer).

Those who would utilize the wicked the attack their opponents, dirty their own hands and degrade their own principles.


VI) De-platforming, in any context, is a tricky matter, but it is usually preferable to err on the side of allowing speech.

Of course, no one has a legal right to speak on a university campus. The university faculty as well as the student body are free to de-platform or dis-invite whomever they deem inappropriate. That's the legal dimension, but there's also a moral dimension. Simply because you can de-platform whomever you want, doesn't mean you should. The university, especially, should be a place where diverse ideas come to wander, whatever we make of their value. De-platforming, oftentimes, adds to the perception that dissenters are unfairly silenced or persecuted, which often only adds to their popularity. Things of value can be learned even from speakers with whom you disagree, if only to understand how people of their persuasion think, and why they have influence. This isn't to say that you are obligated to hear them, but I don't think it wise to deny others to ability to hear critically what you yourself ignore.



VII) Universities are justified in banning speakers on the basis of protecting their students from harassment or bullying.

Milo harassed and humiliated a trans student, Adelaide Kramer, at one of his talks in the University of Wisconsin-Milwaukee. On this basis alone, he should be banned from their campus. Universities have a priority to keep their students safe and are obligated to take any measures necessary to quiet these threats. Free speech comes with responsibility, and one of those responsibilities includes not threatening, harassing, or bullying someone with words. Other universities are further justified in proactively defending their students by banning him before he arrives. This applies to any and all speakers. Speaking at a university is a privilege. Those who use their platform to attack the students should be subject to punitive measures. There's no excuse.


VIII) Students have the right to express their displeasure through protest and boycott, so long as the speaker is still allowed to say their peace.

Free speech goes both ways. It allows the right of controversial speakers to make their case, but also of dissenters to express objection to them. Allowing all manner of repulsive speech is only the first step, and a small one at that. When bad ideas infiltrate the discourse, it is the responsibility of good people to challenge, condemn, and most importantly, present alternatives. One of these ways is by protest. Protest can be angry, disruptive, and uncomfortable, as it should be, but it shouldn't go off to the point where speakers are unable to complete their thoughts. By all means, let them know how you feel, make your disagreement known directly during the question and answer period, but don't protest to the point of silence. Doing so only adds to the strength of the speaker you wish to challenge, and further encourages other students to be more intolerant of controversial speakers, some of which you may not find controversial.



IX) Rioting or other forms of violence are not an effective or desirable means of opposition.

In an interview with The Washington Examiner, Noam Chomsky, the most influential intellectual alive, once referred to Antifa as "a major gift to the Right, including the militant Right who are exuberant," (Nelson). He further added that their tactics, such as "blocking talks" was "generally self-destructive" and "wrong in principle," (Nelson). Free speech leftists of Chomsky's stripe, who once defended the free expression of Robert Faurission, are probably seen as too docile in some circles. Some ideas are so dangerous, they argue, that violence is the only effective means of stopping them. We saw these actions on display when Berkley was set ablaze over a talk that Milo had planned to give. The result was only to further strengthen his popularity as a dissenting thinker under siege by intolerant snowflakes. If Antifa did not exist, Milo would need to invent them. They smear us all as maniacs who would rather burn down our own institutions than ignore a stupid speaker. By no means is Antifa equivalent to the Neo-Nazis, but not being an acolyte of Hitler is hardly a high bar for those whom you would call allies.


X) Milo and others like him are dumbing down our political discourse, it's time to let them go.

Milo may be gone, for now, by others like him still have great influence on political discourse, provocateurs who are more interested in annoying liberals than productive conversation. You know their names: Lauren Southern, Gavin McInnes, Stefan Molyneux, Mike Cernovich, Alex Jones, Chuck Johnson, Dinesh D'Souza, Ann Coulter, Roger Stone, Ian Miles Cheong, David Horowitz, Paul Joseph Watson, Tomi Lahren, Tucker Carlson, Kellyanne Conway, Sean Hannity, et cetera.

These "Milos" have done great damage to the way we speak with one another, where any concerns about racism, sexism, homophobia, or Trump can all be safely dismissed as "politically correct" and "virtue signaling." Never is liberal complaint the outcome of any real grievance, but rather, the result of delusional hyper-sensitivity. We can far better representatives of conservative viewpoints: Bill Kristol, David Frum, David French, Ben Howe, Michael Steele, Megan McCain, Bethany S. Mandel, and others, who are far more willing to engage with their differs rather than adopt any act of depravity to insult them.

Let's leave the children in the playpen.


Bibliography

Nelson, Steven. "Noam Chomsky: Antifa is a 'major gift to the Right.'" The Washington Examiner, August 17, 2017. Web. http://www.washingtonexaminer.com/noam-chomsky-antifa-is-a-major-gift-to-the-right/article/2631786

Young, Cathy. "Anti-PC for Anti-PC's Sake." The Observer, September 6, 2016. Web. http://observer.com/2016/09/anti-pc-for-anti-pcs-sake/







Storium Theory: Optional Challenges

Most of the time, when we put down a challenge, it's definite - a note that the story will be focusing on a particular point. But is it possible to use challenges differently? To lay down a challenge for something the players might want to focus on, but are not required to focus on?

I believe it is a tool for the toolbox...but one I would show great caution in using. I've only pulled out an optional challenge once or twice in my own games, and I am wary of using them often, if at all, in my own narration generally. Storium's rules are set up more for completion of challenges and requiring of challenges, and I think there's a good reason for that.

In setup, an optional challenge wouldn't be so different from a regular challenge - you still want to establish the starting situation, the facts of the challenge, and the possible places the challenge can end up once it is complete. There's not much different in the overall technique of setting it up.

But should you decide to use this tool, I think there are some very important things you will need to be sure you address.

First: How will you know if players are or are not going to play on the challenge? You will need a good way of knowing if players have not played on a challenge yet because they haven't gotten to it yet, or because they do not intend to play on it at all. An optional challenge, being optional, could be ignored completely by players for reasons that have nothing to do with slow play or inactivity. It is important to have a way of determining that the players are not going to play on the challenge, and that it is time to move the scene on.

I suggest that you consider one of the following ideas:
  • Set a deadline based on the other challenges - if the optional challenge is not completed by the time the scene's other challenges are, you will consider it incomplete and move the scene on.
  • Set a deadline based on actual time - if the optional challenge is not completed within X days after the rest of the scene's challenges are (or just within X days if there are no other challenges) you will consider it incomplete and move the scene on.
  • Require an affirmative statement from a player that they intend to play on the optional challenge by a specific date. If you have no such statement by that date, you will remove the optional challenge.
These methods are probably not the only ones...or even likely the best...but they all allow you to know when you can regard the challenge as incomplete and move forward. Whatever choice you make, be sure you tell your players so they know what the requirements are.

Second: What happens when the optional challenge is incomplete?

This is a pretty important question, and one that, I think, gets at the reason I don't use optional challenges much. If something's critical enough to the story that you want to set up a challenge for it, it seems like it is something the group should have to interact with - even if their interaction is playing Weakness cards and having their characters utterly ignore it and let it go wrong. In other words, the characters might not care about something, but if it is important enough to the story to rate a challenge, the players should have to do something about it...even if that something is having their characters do nothing. The story of the challenge, once laid out, should probably progress.

If it goes well, then, it ends Strong. If it goes poorly, it ends Weak. If it is less clear, it ends Uncertain. But that's all determined by the cards.

So...what do you do with a challenge that seemed interesting enough to put out there as an option, but that seems like something the character's don't have to address?

My best bet is that you do nothing. An optional challenge is something that is interesting, but not critical. The players don't gain or lose anything by not going after it. It's only if they actually engage it that it matters to the story in any way.

Thus, if the players don't seem interested in it and leave it alone, it just drops off for the moment. Nothing bad happens, nothing good happens. It just fades away into the background again.

That's not to say you can't bring it back again later, or bring it back again later as a normal, required challenge. It's just that for the moment, it wasn't critical enough to be made required, so nothing's reaching any kind of story-altering point with it. It just fades away for now.

If on the other hand players play some of the cards on the challenge, but don't finish it, I'd probably go by my usual rule for ending a challenge early when it becomes absolutely necessary: Most likely, end it by whatever the current result would be (i.e. if it is going Strong, it ends Strong, if it is going Weak, it ends Weak, if it is going Uncertain, it ends Uncertain) - this method makes the players' card plays so far clearly matter, so that's my preference. If you use a different rule for those cases in your own games, be consistent.

But that brings me to another consideration...

Third: How many points do you put on the thing, anyway?

I'm going to just say outright that I think the answer is one, possibly two at maximum. An optional challenge is not the focus of the scene - it is by definition something that can be entirely ignored. Thus, it isn't anywhere near as important as other challenges, and shouldn't get a lot of focus in the scene at hand.

Furthermore, if you put more points on an optional challenge, it makes it harder to judge when players no longer care about it - once it has become active, how do you judge that it isn't going to be active any further? You can always rule that an optional challenge becomes required if at least one player plays a card on it, of course, but that could get messy in terms of game morale and community if players disagree about whether they want to play on it.

So...I suggest making your life as easy as possible by using only one or two points, tops, and making clear to your players that whatever "deadline" you set for the optional challenge is a completion deadline, not a play deadline - the challenge needs to be complete by then or you will move things on. That will prevent an optional challenge from causing delays.

Finally, though: Consider whether the challenge should even be optional in the first place.

Most of the things I've considered as, well, optionally "optional" challenges were ideas that I ended up deciding would either fit perfectly well as required challenges right then, or would fit perfectly well as required challenges later. I've rarely come across something that I considered important to note in challenge form, but not critical enough to be something the players had to address.

If you're considering an optional challenge, think about it a bit more for a while...is it really something that should be optional, or is it just something that hasn't come to a head yet? Maybe it's something you can get some actual drama out of later, and make it a normal challenge in a later scene. Or maybe it's something you can hint at with a minor required challenge now - perhaps to see if someone notices something - and bring in more fully down the line.

Or perhaps it is something that actually is pretty vitally important right now, in which case it should be a required challenge...right now.

So, when can an optional challenge be helpful?

I could see them being useful if you want to allow the group to choose a direction, but neither direction is necessarily better or worse for the story (if one direction is better and the other is worse, you'd instead do a regular challenge and set the first up as the Strong outcome and the second as the Weak). Then, you could set up two different one-point challenges, and tell the players they can only do one of them - that sets them off on that path and determines how it starts out for them.

It isn't my chosen way to find where the players want to go in the story, but I could see it working.

Another method might be something that is solidly an opportunity for the players - again, if they don't do anything, it doesn't go wrong or anything like that, but perhaps it is something they can use to "shortcut" the plot in some way. You'd have to be careful with this one - it's easy to run into the "why don't you just do this as a regular challenge" internal question - but there are ways I could see it working. If you do this, then, the Strong result is very good for the characters, and the Weak result is perhaps less so, but still generally quite good.

The problem I run into myself with that is that if you use that method, it becomes hard to argue that things aren't worse if the player decide not to play the challenge...in which case, again, I feel like it probably shouldn't be optional because it impacts the story in a notable way. And that's exactly where I've ended up when I've reflected on the few times I've used optional challenges...I end up feeling like what I did was render a part of the story optional when it was actually going to have a definite impact. 

And that's the point I keep coming back to myself in considering this - I just generally can't justify putting a challenge down and treating it as "optional." When I put a challenge down, it means that a notable event has started in the story, and the players, through their card plays, need to see where it goes. It needs to get to some conclusion or another, so that we know where the story goes after it. When I find myself thinking of perhaps telling my players a challenge is optional, I start instead thinking of whether it should be there yet at all.

But: I know that this is a technique some other narrators have used in the past, and I'd very much be interested to hear others' thoughts on it. Have you used optional challenges? What did they represent in your game? And how did you ensure that you knew it was fine to move the game forward? Write in, and let me know!

STAR TREK: GENERATIONS


Three years after Captain Kirk passed the torch over to Jean Luc Picard in the seventh Star Trek motion picture, MicroProse finally gave us the movie tie in. Released in 1997, Star Trek: Generations adds a heavy dose of adventuring to the first-person-shooter but is it any better for it?

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