To explore the concept of bangs with a little more specificity, let’s break down some scenes from popular films. What we’re looking for here is a better understanding of why a particular scene has been chosen and how that particular scene begins.

The danger with this sort of analysis is that we’re looking at a linear medium. Unfortunately, one of the problems with analyzing the techniques of RPG play is that it’s difficult to establish common reference points: Whereas we can all pop in a Blu-Ray and watch the same movie, even groups running identical scenarios won’t necessarily have similar experiences.

For the purpose of this exercise, therefore, we’re going to pretend that these movies aren’t linear experiences. Even though, in reality, the outcome of each scene has already been predetermined we’re going to act as if that isn’t true. I’ll try to emphasize this by discussing the different outcomes a given scene might have.

Let’s start with The Avengers.

THE AVENGERS

At the beginning of the film, an evacuation has been ordered at the tesseract facility. The leads for the first several scenes are Nick Fury, Agent Coulson, and Agent Hill.

SCENE 1 – BANG: “Dr. Selvig read an energy surge from the tesseract. It’s a spontaneous event. We can’t shut it down.”

The agenda is: How is SHIELD going to react?

The agenda of this scene is interesting because of the way that it ties into the entire “Phase II vs. the Avengers Initiative” conflict that lies behind the entire film. It’s expressed most directly through the debate between Agent Hill and Director Fury, but we could also imagine a scenario where Fury reacts to the bang very differently: He chooses not to evacuate the facility because the work on the Phase II prototypes is too important to be disrupted (and the rest of the movie looks very different).

Most of this scene is color.

SCENE 2 – BANG: “There’s a huge burst of energy from the tesseract! Loki appears, wielding some sort of high-tech, spear-like weapon. It looks a lot like a Phase II weapon.”

The agenda is: Can SHIELD stop Loki from stealing the tesseract?

There’s also an interesting secondary agenda: Can they evacuate the compound before it collapses?

Note that both agendas are simultaneously set up with the bang.

This scene is obviously all about conflict and it lasts from Loki’s appearance until he makes his final escape: Martial arts flurry in the lab. Converting the featured characters of Hawkeye and Selvig. Bluffing Agent Hill. Car chase. Helicopter chase. The whole thing.

Let’s take a moment to imagine the agenda questions being answered differently during the actual play of an RPG: Maybe Coulson deprioritizes the evacuation of the facility and with his assistance they’re able to get the tesseract to the helicopter before Loki can get it. As a result, they lose the Phase II weapons (and a lot of their researchers), which will probably have a negative impact on their long-term resources. On the other hand, they’re able to secure the tesseract onboard the helicarrier. (Which is, of course, where Loki will end up targeting it next.)

SCENE 3 – BANG: “Your ruse has worked perfectly: You’re tied to a chair and being ‘interrogated’ by a Russian general. He’s got a couple of thugs flanking him. And there’s a table full of gleaming torture instruments shoved off to one side. You hear a large freight train go rumbling by outside.”

The agenda is: Can Natasha identify the other players in the general’s sale of illegal arms?

Natasha is the lead here, of course. The bang and agenda here are actually inconsequential (although if Natasha had followed up on this information she might have discovered that the thugs Loki was hiring came from this guy’s network). They’re really just providing contextualization for the next bang: “Agent Coulson calls. Barton’s been compromised.” That’s what the scene is really about: Is Natasha going to prioritize her personal commitment to Barton or the time she’s sunk into her current investigation?

Interesting note here. Whedon actually closes the scene with what could be interpreted as another bang: “Oh no. I’ve got Stark. You’ve got the big guy.” This prompts a scene which is actually not found in the movie (during which Natasha plans her operation to recruit Banner), but it’s an example of how effective it can be to deliver a bang and then immediately cut away from it. You’ll leave your players in anticipation of what the resolution of that bang will be.

SCENE 4 – BANG: “As you enter the house, you see the little girl hop out a window on the far side. The whole place looks abandoned.”

The agenda is: Is the Big Guy gonna show up?

The leads here are Banner and Natasha.

Note that you could also express this as, “Will Natasha successfully recruit Banner?” And while there is an element of that in the scene, it’s clearly a less interesting agenda and Whedon knows that. Which is why the question of Banner’s anger is introduced in the second line of the scene, the question of Banner being recruited doesn’t show up for another two minutes, and the scene ends when it’s clear Banner is able to keep it under control.

The important lesson to take away here, I think, is that the agenda of the scene is not always what the characters are talking about on the surface.

We’re also seeing how often Whedon employs escalating bangs throughout his scenes: There’s a girl asking you for help. The girl disappears. A beautiful superspy seems to materialize from behind a wall.

SCENE 5 – BANG: “The Council is demanding to know why you’re trying to reactivate the Avengers Initiative.”

The agenda is: Can Nick Fury convince the Council to activate the Avengers assets as a response team?

Mostly self-explanatory. Note that the conflict in this scene isn’t actually resolved. It is, at best, postponed. Remember that the big agendas will probably only be resolved over the course of multiple scenes.

On a personal note, I found this scene interesting because my initial impulse was to describe the bang as, “Sir. The Council is calling.” This bang is actually used later in the film and it works there because the circumstances of the call make it a big deal. Here, though, Whedon’s instinct is right: He cuts straight to the call.

And that would probably be the right call at the table, too: There’s really no reason to think that Nick Fury isn’t going to take a call from the Council at this point; ergo the decision to “pick up the phone” is not a meaningful choice and a harder frame is almost certainly the stronger, better choice.

Go to : The Art of Pacing – Film Banging: Alien

Quick question: I’m probably going to be releasing an adventure module in the near future. I’m trying to figure out if I should stat it for 3.5 or if I should make the jump to Pathfinder.

You can select both answers on this poll. Basically, if you would buy the module if it was for a particular system you should select that option.

 Loading ...

This is what my chin looks like at the moment:

That’s an MRSA staph infection, complete with swollen lymph nodes. “MRSA” means that it’s resistant to common antibiotics, so I’m on my third set of medications for it and it’s gradually getting better. 2013 has truly been a suck-filled year for me.

Although that’s been slowing me down quite a bit this week, the one thing I did manage to get done was processing a couple large chunks of L&L refunds. Looks like we’re about 50% of the way through that process now. At the moment, we’re waiting for another cycle of cash to clear Paypal and I’ll be able to push on with the next batch. If you’re a backer who has sent me an e-mail and has not yet received your refund, it’ll be on its way as soon as Paypal gets out of the way. If you have any questions or concerns, please don’t hesitate to contact me.

The Struggle – Alex Drummond

As with last week’s piece, this art is drawn directly from the gaming table. In fact, the scene depicted here is taken from me Ptolus campaign. You can read the matching journal entry here:

In the Shadow of the Spire – Prelude 1B: The Lost Vaults

The depictions of Tee and Agnarr, however, are slightly anachronistic. (The scene takes place shortly after they met in the wilderness, but Agnarr wouldn’t have his flaming sword and Tee wouldn’t have her dragon pistol until after they returned to Ptolus.) This is because these characters were appearing in multiple illustrations and I decided to both (a) simplify the art order and (b) potentially create a greater continuity in the book’s interior art by supplying the artist with only a single description. (Plus, this piece is much cooler with the red flames and the cocked pistol.)

This particular piece would have replaced Thor and his hammer on pg. 71 of the Black Book Beta.

Tagline: Learning from their previous mistakes, Bruce Baugh and Richard E. Dansky deliver one of the finest adventures ever as they bring the Darkness Revealed trilogy to a conclusion.

[ Ascent into Light is the third book in the Darkness Revealed adventure trilogy for Trinity. Plot points and spoilers are discussed. Do not read this review if you have any intention of playing in this adventure. I also encourage you to read my reviews for the first two books in the trilogy, as I will be including and concluding thoughts and arguments from those earlier reviews. ]

This is how it is done.

With Ascent into Light the Darkness Revealed trilogy not only establishes itself as one of the finest adventures to ever be published for an RPG, it also becomes a textbook case of how designers who remain willing to learn from their previous mistakes are the best at what they do. It is also an excellent example of how to design and implement an adventure which gets the PCs involved in the highest echelons of a game world. Plus, Ascent into Light throws more shocking surprises into the Trinity universe than you typically expect from a year’s worth of White Wolf products.

High praise is deserved all around.

THE STORY

First, let’s recap the basic story as told in the first two volumes of Darkness Revealed: The PCs, working for Aeon Trinity, get assigned to investigate suspicious activity on Luna. They discover evidence of an illegal conspiracy within the Aesculapian psi order to conduct Aberrant-related experiments on human subjects – something called the Huang-Marr Project. They follow this trail to Mars and then back to Earth, where they uncover evidence that not only the Aesculapians, but also members of Orgotek are involved. The second volume, Passage Through Shadow, ends as they root out the last of Huang-Marr’s corrupting influences on an orbital station… but as they do so, the alien Chromatics appear in Earth orbit and assault the station! The PCs assist in the quick dispatch of these alien invaders.

Thus the stage is set for Ascent into Light: Humanity has learned the psions are not the pillars of virtue they have been portrayed as (raising old fears of “Aberrants among us”) and, as internal dissension begins to grow, we are suddenly threatened from the stars.

The first adventure in Ascent into Light, “Heaven Through Iron Gates”, starts just after the UN instigates a commission to investigate not only the implications of the Huang-Marr project, but also the possibility of more widespread corruption among the psi orders. Meanwhile, Aeon Trinity, in response to the Chromatic attack, dispatches the PCs with a strike force to Karroo (where humanity is in direct conflict with the Chromatics) in order to capture and interrogate Chromatics in an effort to find out where their homeworld is, how they found out where Earth was, and to figure out what they’re up to. (The hidden reason behind this is that Aeon Trinity wants the PCs, who are the key players in the revelation of Huang-Marr, out of the way until they can come up with a synchronized strategy for downplaying and spinning the anti-psion news.)

The PCs go to Karroo and succeed brilliantly in their mission, in the process making two startling revelations: First, that the Chromatics are preparing for a massive assault on Earth. Second, the true reasons behind the Upeo wa Macho’s disappearance (which ties into the Chromatic threat in a completely unexpected way – and, no, I’m not going to tell you; buy the book). Returning to Earth however, the PCs are told by their Aeon Trinity bosses that they shouldn’t warn the world of the Chromatics’ impending invasion – the Trinity wants time to prepare and take advantage of the situation.

“Heaven Through Iron Gates” ends as the PCs rebel against the Trinity and escape. Cliffhanger.

The second adventure, “Climbing to Tartarus”, picks up at the end of the cliffhanger. The PCs finally make their way to the UN headquarters on Luna, where they burst into the ongoing Huang-Marr inquiry and make their stunning announcements on interstellar holovid.

And that’s when the Chromatic invasion force shows up.

If the implications and pulse-pounding potential of this storyline doesn’t have you at, the very least, intrigued, then you might want to check your heart – it may have stopped pumping. And I’ve only covered the major, major stuff here; other major stuff (can you say “Doyen”?) I’ve left out entirely.

THE SETTING

A brief digression: In all my reviews of the Trinity product line I’ve never really mentioned how utterly stunning the setting is. By this I don’t mean just the detail and political intrigue (although they’re certainly there, and I’ve mentioned them before) – I mean that the imagination of Bates and his design team have cooked up some startling vistas which, when you capture them in the mind’s eye, take your breath away.

The Darkness Revealed trilogy has showcased some of the best – from orbital stations, to Luna bases, to the Summit Center which rotates around the top of Olympus Mons (until the PCs are involved in blowing it up), and much more.

One of the more startlingly original pieces is the mining colony Karroo – which, as mentioned above, appears in “Heaven Through Iron Gates”. Karroo is located in a “pocket” of the Crab Nebula. When the nebula, formed from the expanding remnants of a supernova, encountered a nearby planetary system the system broke apart into a massive asteroid field; but like a river hitting a rock, a “calm” was created behind the remnants of the system. This asteroid field is now known as “the Shield”, and Karroo is located in the (relatively) small, empty space on the far side of it. When you picture this small enclave of humanity, nestled among the “greatest aurora borealis in the galaxy”, it’s an awe-inspiring thing.

THE IMPLEMENTATION

Those of you who have read my previous reviews covering the first two volumes of the Darkness Revealed trilogy know that my estimation of the story underlying each of the products has always been high. On the other hand, you also remember that I felt each product was severely flawed in its implementation.

In particular I felt that Descent into Darkness was fatally flawed as an adventure – to take advantage of the outstanding story you would need to completely rework the adventures in order to make them playable. However, with Passage through Shadow I concluded that many of these problems had been fixed between one book and the next, leaving only two main concerns for me:

First, the color sections in the books (designed to be read by the players) actually succeeded at destroying the story (in one case by containing plenty of proof to arrest several of the characters the PCs were supposed to be investigating before the adventure had even begun; in another by giving the PCs information on a location they couldn’t possibly know they would be going to until midway through the adventure).

Second, that some of the transitions required specific conclusions to be made by the PCs – if those conclusions weren’t reached, you would be off course without a compass. (This was a fairly minor concern in Passage Through Shadow; noticeable only because the flaws in this area had been completely crippling in Descent into Darkness.)

Happily I can report that Ascent into Light solves both of these problems: The color sections not only have been stripped of their plot spoilers, but the second one actually serves as an intriguing plot point (as they are mysterious transmissions of information received from an unknown source throughout the adventure).

Besides the generalized excellence, there are a couple of features I want to point out in particular: First, the inclusion of insertion points; second, the in-built capability of alteration.

I have commented in my previous reviews on the great amount of effort put into making each and every adventure in the series accessible to any group of players – even if they haven’t played through the previous ones. These “insertion points” (as I call them) give the Storyteller multiple ways to bring his PCs into the story at any point during the Darkness Revealed trilogy. I was impressed by this before, I was flabbergasted when they managed to pull it off for Climbing to Tartarus.

If you noticed, above, Heaven Through Iron Gates ends as a cliffhanger, which Climbing to Tartarus picks up on. As I reached the end of Heaven I was convinced that the traditional insertion points would not be included for Climbing — this was not a bad thing: Climbing is the last adventure of a seven adventure series. Why would any Storyteller necessarily want to start there?

Unbelievably, however, an insertion point is introduced. And I’ll be damned if it doesn’t work just fine. Works incredibly well, actually. I can see exactly how Climbing could be played as a one-shot adventure.

I have also commented previously on how Baugh and Dansky have given extensive amounts of time to discussing how the basic structures of their adventures can be modified in various ways. Definite thumbs up on that. Once again, however, Climbing to Tartarus takes this to a new height – as the presented story is made accessible not only if the PCs betray Aeon Trinity at the end of Heaven Through Iron Gates, but also if the PCs decide to stay loyal to the Trinity.

Simply amazing. Based on a rock solid story, these adventures are flexible, dynamic, and enjoyable.

THE VERDICT

Ascent into Light, as the concluding volume of the Darkness Revealed trilogy, is one of the finest adventures you can buy for any roleplaying game. It possesses no weaknesses, only strengths. It only costs $15.95.

There’s absolutely no reason for you not to buy this book.

Style: 5
Substance: 5

Author: Bruce Baugh and Richard E. Dansky
Company/Publisher: White Wolf
Cost: $15.95
Page count: 120
ISBN: 1-56504-751-6
Originally Posted: 1999/08/06

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.