Starting a new Kult campaign is a big endeavor. Other than the constant struggle of finding players who will be right for the game and your style of playing, Kult offers a lot of challenges for GMs and players alike. In order to get everyone on the same page, it’s a good idea to have a Session Zero. Dedicating time to explaining the game to new players, going over do’s and don’t, as well as creating characters together will help make the actual first session of the campaign that much cleaner. That’s the hope, anyway! As I’m writing this, the first session of my new campaign is rapidly approaching. Before then, I would like to share how my Session Zero went down.
Pre-pre-planning Session Zero is meant for pre-planning. As a GM, you don’t know much about what your players want yet, so there’s not that much campaign prep you can do. Even so, I wanted to plan for Session Zero to make sure we didn’t miss anything important before and during character creation. I have four players for this campaign, and two of them are completely new to Kult. I decided to section our session into four major topics: Basics of Kult, What is Horror?, Stories, and Character Creation. My goal was to step through these one by one, explain and discuss the topics with my players, and only look back at the previous sections when necessary. I’m not sure what this Session Zero would have looked like without this planning, but I am happy I did it.
As session 8 concludes, we find Jessy unconscious and facing an uncertain fate. Well… not entirely uncertain. She will return at the start of next year, facing new challenges and getting further involved in the madness that seems to surround her. This campaign is an undertaking. It’s bigger than I first anticipated when I started writing and certainly bigger than anything else I’ve done in this style. I come from a D&D background, so my concept of campaign writing was largely limited to building dungeons with more rooms and cooler monsters. More narrative-driven games, such as Kult or Tales from the Loop (another favorite of mine), are newcomers to my game arsenal, and so Jessy’s Story has been an opportunity for me to learn. A lot.
For instance: I think I have finally figured out how I like to write scenes! In the past, I’ve always written my own scenarios and campaigns in terms of locations and events, but Kult: Divinity Lost and many other narrative-heavy RPGs ask you to think in terms of scenes. This was a huge change for me, and I’ve stumbled quite a lot with it. I expect myself to stumble for several more years before it becomes easy for me. Even so, I’ve now come up with a way for me to write scenes that I enjoy and think works for me.
I often end up in discussions about roleplaying games with friends who share the interest, and recently a topic that’s come up multiple times is this:
How much should the Game Master allow the players to affect the story’s outcome?
Now, the short answer to this is obviously ‘it depends’, but that doesn’t make for a good blog post. So instead, I will explore in some detail my thoughts on how I, as a GM, approach writing depending on what kind of game I am running. I will here make the same separation as the upcoming Alien: The RPG by Free League, and I will praise it for its decisions any time I talk or write about this. In Alien, gameplay is strictly split up into two categories: Cinematic Play and Campaign Play.
Cinematic Play involves playing a published, or at least pre-written, scenario. It is separated into Acts, has pre-written characters with their own agendas specific to the scenario, and is generally meant to be played until it’s done and not continued past that point.
Campaign Play instead allows the players to create their own characters, give them flair and backstory and rapport, and then explore the universe of Alien as the GM gives them new challenges based on their choices.
Both of these forms of play should be familiar to seasoned roleplayers, but it is the strict distinction in Alien: The RPG that makes it interesting. In Alien, premade cinematic scenarios will (so far as I can understand) always involve pre-made characters, while campaign play should always (again, to my understanding) demand of the GM to write and adapt. Alien even goes so far as to make the rules different for cinematic and campaign play. This makes me really excited, because it is almost exactly how I like to think about writing for other games, specifically Kult: Divinity Lost. Let us cover some terminology to make sure we are on the same page.
Forewarning: This blog offers little to none explanatory text. If you are not a roleplayer with some understanding of the PbtA ruleset, I can not promise that you will gain much from this. 🙂
One criticism I have read on more than one occasion, including from friends, is that Apocalypse World and its Powered by the Apocalypse ruleset is restrictive to game masters. To which I only have to say:
The idea behind this criticism is that the “Move” structure for game masters feels like a list of actions to pick from. When you are in a scene, you look at the list, decide to “Split the party”, “Inflict Harm” or “Herald the Abyss”, and narrate something according to the theme laid out in that Move. If you are not allowed to narrate events without following this list of Moves, then I would agree that the system is restrictive. Luckily, this is not the case.
Now, a disclaimer before I go further. This is my interpretation of Powered by the Apocalypse and how to use it. There may certainly be more gamified versions of PbtA than Kult: Divinity Lost or Monsterhearts 2, but to me making a truly gamified list of Moves for the GM to pick from misses the point of why Moves are great.