sol invictus.indd

EXALTED • SOL INVICTUSwho want to have total control of their actions mightfind a Storyteller-driven game stifling, and want tosee the events of the game legitimately change dueto their characters’ actions. There’s nothing wrongwith either style of play. As PCs increase in power,however, it does become much more difficult torun a Storyteller-driven game — when characterscan alter the political landscape of Creation with amoment’s effort, getting them to follow any sort ofpredetermined route is a fool’s errand.One possibility for those who enjoy Storytellerdrivengames is to build a game around a seriesof vignettes — self-contained sessions with apredetermined beginning and a set range of play.Each such session would begin with players alreadyin the thick of a challenging situation, with littleattention paid to the specifics of how they becameinvolved; it would conclude with few sizeableimplications for the PCs’ futures, regardless of howthe situation was resolved. Periods of downtime arebasically glossed over — they are merely assumedto place PCs in position for the next session’sevents. This model should sound familiar — it’sessentially the one used in the majority of Americantelevision dramas. Used well, it can allow playersto enjoy playing their high-powered characterswithout having to take the responsibility of drivingthe game. If the Storyteller chooses, she can evenincorporate a few elements of player-driven plotinto the game — for example, by running a “sequel”session that expands upon the conclusion of anearlier game (much like a television show mightbring back a fan favorite villain or return to explorea plotline from an earlier season.)Those who enjoy player-driven games, however,should be perfectly at home with a high-poweredgame. In such a chronicle, players can do whateverthey want — almost any avenue is open to them.In high-Essence Exalted, a chronicle of years canrevolve entirely around a single epic quest orundertaking chosen by the characters.THEMESMany Storytellers make a conscious effort to workexplicit themes or motifs into their game, in theform of descriptions or recurring events in thegame that all refer back to one specific idea. Likein any form of art, the depth and breadth of theseconcepts can vary tremendously — they can be assimple as something like “fighting can’t solve allproblems” or as complex as an elaborate meditationon the states of mankind’s evolution; as serious asa story of inevitable tragedy due to a personalityflaw or as lighthearted as “watch out when theDjala are underfoot.” Many games introducerecurring themes naturally, but some Storytellerswill purposely inject them or even frame entirechronicles with them.It’s useful to think about the themes in any game— whether you choose to incorporate any or not— but for a high-powered game it becomes moreimportant than ever. A game with starting-levelcharacters can easily get by without any overarchingtheme — simply taking a “street-level” approachand dealing with the daily impact of character’sactions or the latest one-shot adventure hook. Formore powerful characters, however, it’s increasinglydifficult to avoid — as your freedom to act and yourmoral culpability increase, the need for a thematicframework to justify and explain your ethicaldecisions becomes greater and greater.Some tips on making use of overt themes in yourgames:Check with the players first. It’s easy to bring a gameto a crashing halt by having players run headfirstinto a thematic restriction they didn’t realizewas present. While a Storyteller’s focused tale ofrevenge and depravity might make for an excellentgame, it will just lead to hurt feelings if the playersare expecting something more light-hearted andjovial.Create characters with theme in mind. If you intend torun a game with a significant thematic element, make180