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Message: <blockquote data-quote="(contact)" data-source="post: 450932" data-attributes="member: 41">I think that’s a fair question, and I think you’re totally right.  We’re nowhere near as evil toward these PCs as we were in the TOEE2, but that’s because we have to take this game for what it is—The TOEE2 was all about theme and mood (and kicking much D&D ass), whereas the Risen Goddess is much more philosophical, and is more about ideas and philosophy (and d—k jokes). The TOEE2 had a meta-plot that was entirely unattached to the players.  Its structure was set in motion, and the plot was going to advance in a certain direction whether the PCs were present or not.  This gave the DM complete lethal freedom—he could Kill at Will without derailing the game.“Hey Heydricus—old what’s-his-name-died already? Who’s the new guy?”--------------------------------------This may sound crass, but PC insignificance was a huge part of the TOOE2’s theme!  The logs don’t really portray it, but at the gaming table that campaign was very, very dark.  The TOEE2: “A small band of desperate freedom fighters sacrifice their lives and struggle against overwhelming odds to Avoid the Worst.”  PC insignificance allowed the revolving door of fresh meat to come and go without impacting the story’s continuity.The Risen Goddess’ meta-plot, on the other hand, is tied in to these specific four PCs and their in-game history.  The PCs are the flash-point for the events that are shaping the world, rather than having happened to be the only good guys at Ground Zero.  Also, the TOEE2 was the responsibility and creation of one DM.  He knew in an absolute way what was happening behind the scenes.  The Risen Goddess is an organic collaboration of only two players (with an occasional third) who switch DMing duties.  So there can’t really be an *absolute* plot.  It’s like playing improv jazz: each of us has to build on what has come before, riff on the theme while adding our own flavor, and make sure we don’t step on what the other guy is doing.  All the while we’re trying to pull surprises out of our hat.  As an example, the other DM decided to ‘reveal’ that Ishlok was a forgotten elven mother-goddess named Palatin Eremath!  (Ishlok has been a primary deity in our home-brew campaign since 1988 . . .)  So he sent us on the quest to return her stars to the sky, and revealed her history (as we knew it then).  Then I ran a series (not yet posted) and added a twist or two to *his* plot!  He ran the Ratik Five scenario, and I ran the game that got them pardoned, etc.Also in the Risen Goddess, the essential themes of the game mean that there’s really no question of permanent character death.  The concept of the pasoun and reincarnation means that even if they stay dead, they don’t stay dead!  So why gun for them?  The point is to have cool, challenging D&D battles that move along the story and give the characters chances to flex their buff abilities.--------------------------------------Does that make sense?  Are you still awake?  What do you think?  I’ve invited some other Rat Bastards to come pipe in what they think about character preciousness, and plot fluidity.</blockquote>

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