On this special Character Creation ReCast episode, we’re going all the way back to the beginning! This episode was originally released with the launch of our podcast back in April, 2018, and our guests were the GMs from Protean City Comics where we learned about MASKS: A New Generation and learned a lot about PbtA and how important it is to be able to see yourself in a game.
On this special Character Creation ReCast episode, we’re going all the way back to the beginning! This episode was originally released with the launch of our podcast back in April, 2018, and our guests were the GMs from Protean City Comics where we learned about MASKS: A New Generation and learned a lot about PbtA and how important it is to be able to see yourself in a game.
Character Creation Cast on Apple Podcasts (The best place to leave reviews for us)
Character Creation Cast on Podchaser
Character Creation Cast on Stitcher
Character Creation Cast on Facebook
Brandon Leon-Gambetta: @DrCaptainKobold
James Malloy: @AndTheMeltdowns
Elsbeth Denman: @TheCatOnTheWall
00:00:00 - Announcements
00:02:37 - Introductions
00:09:50 - D20 For Your Thoughts?
00:10:01 - How do you approach character creation?
00:21:56 - How does MASKS compare to other systems for character creation?
00:30:52 - How does this process set up expectations of play?
00:47:01 - How do the mechanics of the game lead to character immersion?
00:57:05 - What sort of tone will our game have with this group?
01:08:17 - Take It Up A Level!
01:22:08 - Episode Closer
01:26:46 - Outtakes
Opening: Meditation Impromptu 03 (http://freemusicarchive.org/music/Kevin_MacLeod/Calming/Meditation_Impromptu_03) by Kevin MacLeod (http://incompetech.com)
Clip 1: Action Epic by Komiku
Clip 2: Stop, Hack and Roll opening theme
Clip 3: Night Owl by Broke For Free
Clip 4: Protean City Comics opening theme
Main Theme: Hero (Remix) by Steve Combs
MASKS: A New Generation by Magpie Games
Character Creation Cast:
Ryan Boelter 0:01
Welcome to our third of four recast episodes everyone. This time we are reaching way way back in our time machine. and pulling out in the episode from the day we actually launched the podcast on April 2 2018. This is the discussion episode for our masks game coverage with most of the crew from the Prothean city comics podcast. Not only did we have a lot of fun creating these characters, it was really cool that we could create characters that actually exist in the world of Prothean city. I believe two characters that we came up in this series of episodes aren't showed up in the podcast, and a major corporation we invented has played a very prominent role in recent storylines, which is also extremely cool to see. So not only did we pick this episode for recast because of those reasons, but also we learned a ton about pvta games and especially how important Being able to see yourself in a game is also fun fact our guests on this episode consists entirely of the current GM for Prothean city. That's kind of cool coincidence probably in other news and if you'd like what we are doing on this podcast please consider leaving us a rating and review on Apple podcasts or wherever you find a place to review our show. If you do, we can read your review during these cold opens whenever Amelia and I are recording together. So unfortunately, Amelia was unable to join me for this cold open, but hopefully next time we can get together and record one of your reviews together because we really enjoy doing But without further ado, how about we get on with the show. Enjoy Are you
Amelia Antrim 2:36
Welcome back to our discussion episode. Last time we created a superhero group for masks a new generation. This episode will be discussing the character creation process. Let's welcome back Brandon James and Alex Beth. All from Prothean city comics, a masks actual play podcast. Could you guys go ahead and introduce yourselves and tell everyone a little bit about the character you In our last episode of elsbeth, we will start off with you this time. Okay, cool.
Elsbeth Denman 3:05
Hi guys. My name is elsbeth and member of the protein city podcast. I made a character called Cordelia snorks. It's an unfortunate name that she was given at birth. Her hero name is the idealist and I'm playing the delinquent playbook. And her powers are power negation and emotional control. And she's sort of a grungy tomboyish 14 year old,
Amelia Antrim 3:34
right and James,
James Malloy 3:37
I made a transformed named Tommy Treadwell who goes by whip as a winnings of being a hero. And he is a well he used to be Asian and now he's mostly car. He was transformed during a terrible auto shop accident and he has cherry red skin headlights, Her eyes and he just wants to get out there and help people and and and hope that he can find people who won't. Who can see past his, his outer paint
Unknown Speaker 4:11
his windshield wipers his windshield wipers. Yeah.
James Malloy 4:15
And help him see in fog because he can't see in fog very well.
Amelia Antrim 4:20
All right, and what about you, Brandon?
Brandon Leon-Gambetta 4:22
Hey, I made a Janus.
Brandon Leon-Gambetta 4:26
my character's name is Iggy Riaz or la calavera which is like the those sugar skull candies. Technically, it's like the skull but it's, it's got a little bit of that feel to it and is kind of decorated in those very bright colors. Um, she has the power of bone generation and impossible mobility. And what she does is kind of has bones that sprout from her when she's in her costume. Look, you may have noticed that I switched pronouns from the beginning of talking about AG, because outside of costume ag is male and uses male pronouns and in costume, she is female and uses female pronouns, which is part of just more of the sort of double life. And as the Janice she is not no one knows who she secretly is when she's wearing the mask. And so having that as a additional difference in their in her identity makes her a little bit harder to notice a little bit harder for people to figure out who it is because when the rumors started to spread, about who she might be insert, people started using female pronouns with her. It was like Okay, yeah, we can go with that. And then lots of self discovery to come from there. She also Iggy rather because now this is part of the mundane life is also an intern at a horrible technological innovation. fermentation location that I'm blanking on the name of right now.
Amelia Antrim 6:05
Hello a court Galloway court that's
Brandon Leon-Gambetta 6:07
what it was, um, and additionally has a grandmother at home that he has to take care of a lot, and a significant other that we haven't really delved into it all and probably want to right now.
Unknown Speaker 6:21
So that's ag. Right. And Ryan?
Ryan Boelter 6:25
Oh yeah. For my character I created a an outsider named Mishra. She is from a planet called Phelan, our prime. And she is part of a an alien race that is naturally stunningly beautiful and has a natural combat ability, which is a custom ability that we made for this character. And what that does is basically she is able to use any weapons proficiently even if she's never seen it before, and she's able to Look at people's combat abilities while in combat with them, and then mimic them and figure out ways to counter their attacks easily after observing them for a bit. She crashed landed on Earth as a child, probably about 12 years old. And she's been here for about four years. Both three of those she's been on her own trying to make it on the streets. And then she ran into these four, and has been working with them ever since. And finally feels like she's part of a family. So she's actually decided to want to stay here. In case her race ever finds her hiding on on this, this backwater planet called Earth.
Amelia Antrim 7:48
All right, and then I made Beatrice. I did pick a last names since we last talked. Her last name was now McAllister. And I use the doomed playbook. And so she has a Nemesis named William Callaway the fourth, he is the owner of Callaway Corp, which is a big energy conglomerate. And her abilities are memory manipulation and psychic constructs. She really does not like to use memory manipulation because she feels like it's kind of creepy and skeevy. her powers sort of manifest as particularly with the with the constructs and everything looks kind of like flames. And she is redheaded and kind of on the shorter side a little bit curvy, and constantly wearing a lab coat. She spends most of her time in her sanctuary, which is an old abandoned school building, where she does all sorts of research and experiments kind of trying to find a way to slow down The power that she has that is sort of eating her alive, like burning her life from the inside, which is why William Callaway is her nemesis. She is currently an endless source of energy. And being the manager of an energy conglomerate, that's kind of what you're looking for.
Brandon Leon-Gambetta 9:21
It's also a really good internship. It's gonna look great on college, college applications. I'm very excited.
Amelia Antrim 9:29
Yeah, I mean, Harvard can't say no to that.
Brandon Leon-Gambetta 9:31
Yeah, probably something a little closer to broden City. Oh, actually wait.
Unknown Speaker 9:39
That would be pretty glass.
Ryan Boelter 9:42
Awesome. So let's go ahead and dive right into a segment that we are calling d 24. Your thoughts, the 20 fair thoughts. And in the segment, we will be covering our thoughts on the character creation process, how it feels compared to other systems and other various questions that we've got.
Amelia Antrim 10:00
Alright, cool. So we're going to start by discussing sort of in a more system neutral sense, what your personal processes are for making characters in any role playing system. When any of you guys sit down to make a character for a game, what kind of things do you like to do first? What kind of things do you think about? And what parts are you really passionate about?
Brandon Leon-Gambetta 10:24
This is a funny one for me, because I am almost always the GM and my games. Our group has a couple of other people that also like to GM but in no way a problematic way. I frequently I'm the one who is running things, which I love to do. I love running games. And so when I do actually make a character, lots of times I have ideas in mind that have been bouncing around in my head. And I write non player characters often enough, that it's relatively easy for me to essentially sit down at a table ready to make a character where I think that is maybe a little bit different from coming in with more of a player mindset is that I almost never have any real backstory or plans for the character ahead of time. Because I kind of am used to creating NPCs that could die in the first scene and that would be really fine in terms of their narrative. And so making similar sorts of characters that who knows where they lead, I've got no plans for them and what happens happens and so I've been sort of my go to, I'm very much interested in playing out new things that haven't appeared in recent games also. So I'll lot like about when I was looking at the abilities for the Janice because I was relatively sure I wanted to make one. I knew we'd seen rodent control. I knew we'd seen supernatural senses we'd seen a little bit of energy absorption, substance memory When really seen, but bone generation was definitely new. So grab that just to kind of continue fleshing things out in terms of what fleshing things out in terms of what can be in the world. So do you tend to look at it then from a GM standpoint? Do you put in your own kind of story hooks? Or do you just leave it totally open? Oh, the more story hooks I couldn't give the better. Like, you may notice that when I was choosing the things for my secret identity, I went with an internship at a place that we know is run by an evil NPC. I went with a person at home, who could be potentially in danger. And I went with a significant other that probably wouldn't want me running around the city as a completely different person and probably wouldn't understand me running around the city is a completely different person. And those are very, like, those are very serious hooks that I'm saying, hey, do these things show these are things That you can pull on the fact that calavera and the that ag calavera has to kind of eventually start thinking about what their identity really means what it is to be both again calavera and feel very much right in, right in their skin in both is another thing that it's just saying to the GM, hey, push on this pull on this. This is story to explore.
Ryan Boelter 13:27
Nice. How about James or Elizabeth?
James Malloy 13:31
I can come at I can actually I think the way that I create characters is very interestingly similar and very different from the way Brandon does, which is that i i don't GM a whole lot, but I do obviously spend a lot of times thinking about it. And, and so one of the things that I do when I sit down to make any character in any system is I think about what their belief structure is because the thing that is most important to To me, is to make characters who take actions. Yeah, a lot of my early gaming was with a group that was just like paralyzed by indecision. And so at some point, I made a decision that all of my characters were going to have a very clear belief structure, and that they were going to follow that belief structure, just to the tee, and that if that meant doing something that wasn't party optimal, or really like self serving, that that was going to be okay that if my character is pissed off by people making fun of them, then my character is going to react poorly to that, or is my character, bold and brave to the point of I'm probably being stupid. Well, then my Paladin is going to burst through the door. He's gonna check to see what's behind the door by bursting through it or taking it down. And, and so anytime I start to think about making a new character I start to think, what is this world that we're building a character in? What are the types, the types of things that are the characters supposed to be considering? And then I build out a belief structure from there, saying my character wants to do this, my character wants to do that, my character will never do this, and then building out the rest of the character from there.
Amelia Antrim 15:21
That's an interesting, like, active way to do it, as opposed to saying, Who are you rather, saying, What do you
James Malloy 15:29
always want to I want to make the character who takes those actions, and I'll figure out who the character is that takes those actions later.
Brandon Leon-Gambetta 15:35
Yeah, saying that, that I think also is kind of interestingly, also a G me sort of approach. I think, James, I know James, you did some GM in college and stuff like that. And I think that there is a tendency among GM is to go okay, how do I play a character that pushes the story along? Yeah, because if you've done any amount of gmN for people that like, you know, have not spend time Gee, I mean, there will be the three hour long session where nothing happens. And there was a time in my life that I was totally cool with the three hour long session where nothing happens. But now it makes me cry. And so I think
Amelia Antrim 16:17
other things to do and yeah, I limited amount of time.
Brandon Leon-Gambetta 16:21
Yeah. So if you've got GMOs at the table making characters, they will almost always make characters that move the plot forward. James, James, that I just did a recording for an upcoming Prothean city. I think it's gonna be the end of March issue. That was the two of us and another. Another just consummate professional, incredible GM, that we moved along things so ridiculously frickin fast. Because all of us were just immediately thinking and what's the next thing and what's the next thing and just kept it so punchy and James's character is over. Always consistently are so punchy,
Elsbeth Denman 17:03
punchy to the point of some some destruction sometimes.
Unknown Speaker 17:07
James Malloy 17:08
yeah. A lot of times a one of the first things I did when I say like, what are the beliefs? What are the actions my character are going to take is I think, what is the dumb thing My character is going to do?
Brandon Leon-Gambetta 17:17
Right? The sub optimal?
James Malloy 17:20
What is the least optimal group decision that I can make? What is the decision that I can make as a character? What is the thing that my character will believe that will suck us into a story that we should that we wouldn't have otherwise gotten into?
Brandon Leon-Gambetta 17:32
Right, not the and I would like to spend the next hour and a half making this safe.
Unknown Speaker 17:35
Amelia Antrim 17:38
That's an also an interesting way of looking at it though. I think people who do actual play podcasts tend to think that way to more than people that are sitting down playing at a table, because there's this constant need to keep things moving forward and have it be interesting rather than optimal. And you know, sometimes when you're sitting and playing at a table, you you really You want your character to live for a really long time and you want to be able to finish out this campaign and you know sometimes you don't always make the most interesting decision but you make the best decision whereas when you're playing for other people there's a sort of need to to keep everyone interested and say, You know what, this is like not a good choice and I know that but it's what my character would do and it makes the story interesting so we're going to go ahead and do it anyway.
James Malloy 18:23
That's the other thing that we're Brandon makes characters where he doesn't like flush them out too much immediately because he's thinking about them like NPCs where he kind of maybe like if they if we discover their backstory we discover it but if they die in the first scene, that's fine like he's sort of death ambiguous. I'm actively trying to create characters that will die
Elsbeth Denman 18:41
we're gonna love them first so we're gonna go Yeah, when you kill them off.
James Malloy 18:45
Yeah, know that death needs to be meaningful, but it needs to happen.
Brandon Leon-Gambetta 18:49
give an idea of how ridiculously death ambivalent, I am. A elsbeth is soon going to be running a session that introduces my player character. Very, I'm so excited. I love my player character, I'm very invested in him. And it recently occurred to me that there's a possibility that I don't make it through the volume. Oh, and I'm okay with that. There are like two or three different cuz I know like a couple of kind of core ideas that I needed to go in knowing. And there's a real decent chance of him not being able to join the team or him not being able to go through things in the way that we think that it might go. And that is okay. And if that happens, then I'll make a different character. Because my characters are NPCs Okay, I'll protect you.
Elsbeth Denman 19:38
I'll be sad because I'll feel terrible, but it's definitely possible. No,
Brandon Leon-Gambetta 19:43
there would be no need to feel terrible
Elsbeth Denman 19:45
because I'm attacking him also. Well, well,
Unknown Speaker 19:49
you don't have to say.
Unknown Speaker 19:51
Look, if anyone's gonna die on this podcast, it's gonna be it's gonna be my God.
Brandon Leon-Gambetta 19:55
If I managed to kill my Player Character before James does, I will do
Unknown Speaker 19:59
James Malloy 20:02
Brandon Leon-Gambetta 20:04
If I hit a certain amount of six minuses, I'm just going to take a piece of paper out, fold it in half and hand it to Elizabeth. And she's gonna say, kill me killing a killing a player character is a perfectly acceptable hard move and masks.
Amelia Antrim 20:19
What about us both? What do you kind of think about when you're making a character?
Elsbeth Denman 20:23
I don't know if there's a way to be opposite of both. But the way James is speaking about going inside out, I kind of go the other way. And I'm also relatively new to the tabletop RPG community. So I haven't played that many varying different types of games. Most of the games I played have been pvta because of Brandon, and then James.
Elsbeth Denman 20:45
This is all brands fault. I introduced him to theater and he introduced me to this
Brandon Leon-Gambetta 20:52
theater. Exactly. You dragged me
Elsbeth Denman 20:55
I dragged you.
Elsbeth Denman 20:58
Said Brandon, come to this with me. You make great voices
Elsbeth Denman 21:02
worked. So yeah, so when I make characters My background is, is in acting. So I kind of start with one primary feature, whether that be in masks, it's their power set, or like a family background or maybe maybe something traumatic that happened in their life or whatever, start with one prominent feature and then work my way in. So how would that affect the way that you grow and develop? What would your defense mechanisms be? How would you speak to people? What might your thoughts on the world be had this considering this one factor? So I'll get fascinated by one little piece and then let that grow into the whole thing. It could be a style, it could be what they study in school, it really kind of depends on my mood at the moment. But that one little feature will grow the whole character for me,
Ryan Boelter 21:54
right? Like that kind of leads into the next question is how do we think mask Stanton's up to Other systems that you guys have played a know, it's fairly similar to pvta in terms of the very basic core play style. What about other things?
James Malloy 22:12
So the thing that I think that it does really well, and that I can go off on for a long time, if you let me is that because mask is invested in the idea that you are a you're a group of superheroes, it gives you a lot of openness in broadly, this is the thing that like pvta games do in general, but it's the thing that masks does particularly well, which is giving you the sort of open ended hooks that build out sort of emergent story and, and it focuses a lot of them towards how you have interacted with the other characters in the group in the past. And so like it's everything from string of asks like, what was the first time that you all came together and gives everyone a question where you each get to build part of that story out and so it kind of like in a perfect world in every system, you would, you would go through and talk about your character. And while you're doing that character introduction, that you would, you would introduce each other. And you would find little pieces of narrative where your characters hook in together. But mask sort of gives you that framework to do that, by getting you started to talk about how your characters came together. And every time I've made characters in masks, we've gone through those questions, but all of our answers have always expanded past those initial questions. And, and everything like the greatest moment like the best example of this was when Amelia you are setting up your nemesis, and Brandon was like, Oh, I need to fill out this thing that says where I haven't like a job. It makes perfect sense that my character would be interning at your Nemesis is giant corporation. And that is a cool piece of like, you would maybe never have thought of that except that it sort of gave you these these uh, these starter questions that help you find narrative and open ended enough and broad enough that it just makes sense. To sort of start connecting,
Brandon Leon-Gambetta 24:01
there's also a lot of them in those connections. If you look at I mean, I think possibly the best question in every single backstory playbook. And this is why do you care about the team, because one of the worst things that happens in like trooper party based role playing games is, I'm the Ranger and I sit in the corner of the tavern and I don't have any friends or anything, I don't care about you old, I'll murder all of you if I get the chance. And then immediately followed by enjoying the road. And what I'll do again, then that's just the entire thing of everybody just wanting to sit in the corner and only along because it's like, you know, a little bit of gold. And that can be fun if you're playing swords without master. But if you're superheroes that's crappy. The team of Batman's would never exist.
Amelia Antrim 24:55
I'm gonna say To be fair, I have played a game where we were all in a room together and we were supposed to be Working together and we played for, I think, like, three hours and our characters never interacted with each other. Like we all interacted with the story and the surroundings. And I mean, we had plenty of fun. But that's not an ideal game, and certainly not why you sit at sit around the table with your friends.
Brandon Leon-Gambetta 25:18
Well, it's especially not an ideal game, if you are doing a party based thing, because masks is party based. A lot of ppta games are not and kind of aim players against each other. But this one is explicitly saying, hey, you're a team, you care about the team, you're not going to leave the team for just no reason. Let's codify that. So yeah, why do you care about the team? When our team came together? That's two, two different relationships. That's three and four, and influence, which gives at least one connection. And you've got five things on your character sheet that say, hey, this team is important. Connect with them. Oh, my God, please connect with them.
James Malloy 25:55
And one of the things that actually I think is important and is largely overlooked in the That it builds that sort of interconnect interconnected narrative is the fact that even something as simple as the abilities you choose from are incredible. They're they're evocative, and they're interesting, but they are incredibly vague in a way that if you all wanted to say we have a shared like fantastic for we were all in a space station and a wave of energy hit us. So all of our powers come from the same source. They're vague enough that you could describe all your powers as being like you joined in some way.
Brandon Leon-Gambetta 26:29
I'm going to even show a little more of the secret behind this calavera has the ability to grow bones like you know, like, have the bones stick out and everything. The gym has body transmutation, which can include growing bones, the outsider has, whereas it radical shape shifting, you know, like growing bones
James Malloy 26:56
Brandon Leon-Gambetta 26:58
yeah or transmuting flesh. You know, yeah, yeah, like growing bones I'm trying to find the delinquent whereas it in the pipe, but here it is. The delinquent has Ah, okay. Oh, psychic weapons, you know, like bones growing out of you. It's like ugly. Like, the thing is you can do pretty much anything with these abilities and you can build them out in any way you would like to. You can be a fully themed team that all has the same power. But each of those has enough of a different flavor, that they would still feel different. The delinquent is probably firing the bones out of people. The doomed is probably doing weird, magical stuff. And like all of those things could be the same thing. And you could be the skeleton squad, but you would still be really individualized really interesting characters that have different story arcs because of their playbooks.
James Malloy 27:55
Gosh Brandon, the Nova has bio kinesis like moving Bones with your mind.
Elsbeth Denman 28:03
know if I can do whatever
Brandon Leon-Gambetta 28:05
the beacon has facing, you know, like facing your bones out of your body. It is literally every every playbook and you can do that with any power the bone one is maybe an easy one. But you can do that with any power you want, all of them can be made.
Amelia Antrim 28:19
Well, we talked a little bit about how like broad and vague things are. And I finally between last week and this week, got a chance to listen to a couple of the session zero episodes for Prothean city. And it is super interesting, James that we did go through and pick almost exactly the same things. And you know, Beatrice and Puck look nothing alike. Completely different characters. And so every time you would go through and you're like, Oh, I picked this and this I was like I did too, but it doesn't look anything like that. Like they're not even close.
James Malloy 28:52
Because their story hooks they're there to get you to start creating fiction.
Brandon Leon-Gambetta 28:56
Yeah, it's just fascinating to me. Did you notice that calavera made the Same choices as Spider Man. Slightly I did. But it doesn't look at all the same. It's a very different character. Web generation is underneath bone generation. Yeah, as if anyone would choose anything other than bone generation Come on. Also, just in terms of creating the characters, and what makes it a really interesting thing within masks specifically, is that it does an enormous amount of goalposts for what you're supposed to be doing. Um, superheroes are, by their very nature reactive genre. It's a little bit tough to say like, okay, your superheroes fighting supervillains, you're going to go to set up a plot that you've come up with know you, you kind of have to wait for the bad guy to do something before you can do that. And so having playbooks that really emphasize what your long term character arc can be through its team moves through its moment of truth, through some of the moves that show you when you mark potential and things like that. All of that helps to really create a satisfying superhero that stands on their own and does stuff isn't just oh, I'm punches guy when things go bad guy.
Amelia Antrim 30:06
Not that he's also not a valuable member.
Elsbeth Denman 30:09
Yeah, I wanna play that person are
Brandon Leon-Gambetta 30:10
you talking about? I think that would be the bowl.
James Malloy 30:15
When things go well,
Unknown Speaker 30:17
James Malloy 30:18
punches things all the time guy.
Brandon Leon-Gambetta 30:20
Yeah, all times the bull by the way, this actually kind of ties into the same thing. The moves have the most enchanting leave wonderful names. For example, the best named move in the entire game punch everyone which is a bold move, and it does exactly what what it sounds like. That's awesome. I like in a china shop in a china shop is good as a whole is a really well put together a list of names for the moves.
Amelia Antrim 30:51
So I want to we started talking about it a little bit, but I want to kind of deep dive a little bit more and talk about how the mechanics of character creation lead to the feel of the game. What kind of things do you do in character creation that sort of give the player an idea of what playing a game of masks is going to feel like?
Elsbeth Denman 31:14
Well, definitely when you start one of the I know, Brandon is a huge fan of this. And he's totally, totally right. In the beginning, when you are making your character, one of the first things you're going to see is what your basically your ethnicity is or your skin color or what your appearances and that immediately calls attention to the fact that hey, you can be something other than maybe what you are or what you've normally seen in media, which is great. And then that's reinforced by the art on each of the playbooks which are just incredible. And for me, when I first was showing these playbooks I'm like, they're the opposite. The character on the sheet is almost exactly the opposite of what I expected to see. And it makes me so Happy each time and like we just saw the new newer playbooks come out. Yes.
Unknown Speaker 32:05
I was gonna
Elsbeth Denman 32:07
Oh god, they're so good and and is it the brain? Brandon?
Brandon Leon-Gambetta 32:11
Yeah, the brain is droppy
Elsbeth Denman 32:13
she's Yeah, she's wearing her job. And I was like, This is amazing. Like, this is the representation that we've been craving for so long. But what it does is introduced you to this world of math saying everyone is here, everyone is here, everyone can be a hero. There's no stereotype that, you know, you need to stick within or, you know, it's it's no boundaries, you're entering a world that's inclusive, and that feels incredible. So I think that's one of the best introductions into the world that the character creation does.
Amelia Antrim 32:47
And that's the thing that I loved about it right away and we talked about it a little bit last time too, that it's nice to just have it because it lays out a couple choices and you certainly don't have to pick those choices, but it's nice to have those in front of you as that sort of reminder, instead of that blank box that says race or you know, look, even, it's nice to have a few choices, you can say, Oh, I don't have to be what I am. And I can pick from one of these other things and kind of broaden the scope of what I'm looking at here. And I think it's also an important reminder that you know, you're playing in a world where people can be cars. So there's no reason why you also have to be white. If you can be a car. And if you're a car you still don't have to be white. No, right. You can be a red car even.
Brandon Leon-Gambetta 33:37
I think that the transformed is is a Latino character if I'm not mistaken, I vaguely remember that that because all of the pictures are also these like, kind of iconic characters that you can get some information on somewhere I don't remember off top my head where I'm but like, just even in that they didn't go with the default assumption that most Most media seems to go with. And so that's just that's really cool. I think the thing that in characterization that most to me feels like, like shows you what the game is going to feel like, is when you hit that when our first team first came together, because honestly, when our team first came together is a mini RPG, I have played less sophisticated micro RPG. And the questions is really lead you through where What about your character is going to be having a big effect in game. Um, they're really carefully chosen, they make a lot of sense. And essentially the when our team first came together question is a question that the GM could ask you all the freakin time. I'm like the Jane is having we save the life of someone important. The genius is about saving people that are important to you. Because it's about people being important to you. And it's it's the same for all them the the doomed paying a high cost the delinquent breaking rules. Transforming with the transformed is, oh, being hated and feared. Like it's the questions the GM should be asking every single time you're in are in a fight.
Ryan Boelter 35:19
And it's really nice because it really sets up an expectation of player agency throughout the game. Yeah. Which I I'm just really, really a big fan of before getting into the pvta scene, you know, most of the the 80s and 90s role playing games there. They're all GM is everything. And you are just yourself and that's the only control that you have. Whereas, nowadays in games like masks and whatnot, it's basically forcing the players to say, you know, you have some control over what's happening in this world,
Elsbeth Denman 35:55
which also makes you more responsible for
Elsbeth Denman 35:59
doing your own research coming up with your own inventive ways to play the game, maybe coming to the table with something you'd like to explore about your character because you might get that opportunity. Whereas in other games, you you might not because you're kind of at the mercy of what's planned for you.
Amelia Antrim 36:15
I think it keeps you engaged to as a player, though, because having that agency is is makes it a lot easier to sit down and say, Okay, I care about what's happening, because I got to make all of these choices about who I am and how we connect and all that kind of stuff, too.
James Malloy 36:32
Yeah, the big thing for me that I'm going to go off in a little bit of a different direction about the character creation is that I think that speaks to how how the mechanics of character creation inform the gameplay is when you sit down and you start, there is like a paragraph on the first page. It's very small, usually a couple sentences. It's like, what are your powers? Yeah, you're gonna shoot some some spider web and you're gonna fly and you're probably whatever you're gonna do superhero stuff like that's a given and in the whole second place. haters like buddy, how do you keep a job and do this to like if you're looking at the Janice or like, how do you what do you do when you lie about your job? Like how does that make you feel? Or like if you're the beacon you've got like a you're looking at these moves and like, You're okay yeah, you got some swords or whatever. Like that's, that's whatever, like, you're a given like you're a hero. Like what do you do? How do you feel when you tell someone and they recognize your superhero name? Like the the moves page being this huge like chunk of the character sheet that is not about like, how do you superhero, but how does your character interact with the world around them? How did like what are they? What are the choices they make? What are the things they're driven by? That's not about the hero, it's about the kid.
Brandon Leon-Gambetta 37:47
I think the best example of that James is looking at the bowl. Because people who choose the like the bullet is the Hey, I want to hit things and like it is custom made. For the person who wants to play your superhero game with you, and doesn't want to think about any of this emotional stuff, if you're looking at the first page of it, yeah. Which is why a bunch of people, it's a trap. It's 100% drop,
Elsbeth Denman 38:14
because only one of the most emotional playbooks, absolutely.
Brandon Leon-Gambetta 38:18
Like it has a feature that is hugely emotional out of the six moves that it has. Only one of them doesn't directly relate to emotions, and you have to choose to genius. It is genius.
Amelia Antrim 38:34
Looking at the playbooks and like the way they're laid out, it's like that the front part with the look and the abilities. It's like going into a therapists office and it's like, this is the form that you fill out when you first Sit down. And then you go into the office like now we're going to start and we're going to talk about everything that we didn't have time to fill in and all of those boxes like you've checked your couple things and you're like not even close to done. We are just getting started with the emotional trauma.
James Malloy 38:59
And I think that that That also goes back to the pvta style of gameplay where like, like, you're gonna do superhero stuff. Oh, you are directly engaging a threat and you fail, you still do superhero stuff, you still directly engage that threat like that action that you described still happens. It's just that the fallout isn't quite as good as it would be.
Brandon Leon-Gambetta 39:22
Yeah, it can be great to have someone roll a six minus and then describe in amazing detail how cool it looks while they fight. Yeah.
Elsbeth Denman 39:30
Or if you're colino you just choose to pass out because it's easier than getting knocked out three more time.
Brandon Leon-Gambetta 39:39
Next time he doesn't, I'm flinging him off a building
James Malloy 39:42
very few ways for you to like fail at the action. And so and that's a very superhero like you don't want to play a superhero game where like Spider Man is is swinging around and like is just trying to get to the action and goes to shoot some web and it and like rolls a six minus and then falls of the ground, and there's no, there's no bad guys around and they die.
Brandon Leon-Gambetta 40:04
The Batman game where the difficulty class to figure out the clue to find the Joker was 15. And you roll the 12. And then you don't get to find the Joker.
Unknown Speaker 40:13
Amelia Antrim 40:15
Give up go home.
James Malloy 40:16
That's not superhero II and that's not pvta. And the interesting thing is, what do you do once you get there? Like, you're going to do all that other stuff?
Brandon Leon-Gambetta 40:25
Yeah, guaranteed. Also, a wonderful thing for people to look at at some point that we didn't touch is the core GM reference, which is a free PDF that's also on the masks thing. It is. It is just like I was I was going to try to look at it and pull a couple of cool things out of it, but it's just so perfect. That it's hard to even do that. Like the gene is it's just moves to make against the players for if they fail, and like the Jane has has taken away their mask. That's incredible. The delinquent has put them in chains. Which is very cool. But it also has give them conditional love. Oh no, yeah. And offer a helping hand. It's like, hey, they rolled a six minus, make someone come in and help them because that's going to hurt them so much more than that. Having them punched in the face that's going to be so much more powerful because they'll know they didn't deserve it. And that's where this game sings.
James Malloy 41:27
Yeah. And and from a jamming point of view, because I did have jammed a couple games of masks. It's so cool to be able to go through and say, Okay, well, I've got this character in this character in this character. And here are the four actions for each of those those playbooks that the game suggests I make. So now here's a big list of things I need to do in the session that is going to like be the punch list emotionally, like disturbing things that I can do to these characters that will like hit them in the places where they have connected with their characters. Hey, James, things are going well. You're feeling really good. I'm going to attack you with another thing. hoards because you're the transformed and you can just destroy them. It's an opportunity for you to show up how cool you are. And then for me to say, hey, are those unthinking hordes really any different from the monster that you are?
Unknown Speaker 42:13
James Malloy 42:15
that I did in the session that I gm of party and city where I through a whole bunch of just like normal humans and at pennants who can like throw magic and I was like, well, this person can't deal with having magic thrown at them. So if you're gonna shoot fire at them, they're gonna light on fire and like that's gonna hurt and that's going to be disturbing to you because it was like one of the things I suggest is to show the Nova how their powers can affect and break the world.
Unknown Speaker 42:45
Yeah, it really did. It did mess with me.
Elsbeth Denman 42:49
Be straight. It was it was rough.
Ryan Boelter 42:51
Elsbeth Denman 42:55
Know I'm over here. You know, I'm planning this. This new session for, for introducing brand is playing character play character and I, I'm trying to think of all of these kinds of things. So this is super educational for me.
Amelia Antrim 43:13
You to go back and listen to all of the horrible things that he's done to you make notes the right look at him. Except that apparently he doesn't care,
Elsbeth Denman 43:22
right? It's very rare that I get to play the game with Brandon where he's the character so I'm like, I'm used to James's shenanigans I'm not as ready for Brenton.
Brandon Leon-Gambetta 43:31
One of the principles in this game is sometimes disclaimed decision making, which means sometimes turn to the table and say, Hey, what's the worst thing that could happen here? And another part of that is sometimes letting the other players set up the most negative things and that's actually what I've primarily done with L's. But
Elsbeth Denman 43:51
yeah, I dig my own grief frequently,
Brandon Leon-Gambetta 43:54
instead of making direct moves against her. I just kind of like, turn to someone else and be like, hey, how'd that make you feel?
Elsbeth Denman 44:00
I'm over here like Brandon, you know, just that are hurt me. And really,
James Malloy 44:06
like, the thing that is great about that is that all of those things, what they're doing is they are like not to like, Brandon, you were talking about Africa, what you call it earlier. But the thing that is great about have having the way that the game thinks about what you should be doing as a player and thinks about how it's engaged in you as a team and the way that, of course, you're going to do superhero things. So to move on to the other interesting stuff. Yeah, that that's all very, like, that's what the genre is. And so it's it's just sort of baked that genre into the core mechanics of the game, which helps you if you have never watched Young Justice, or the Justice League or whatever you've never watched like a teen spear show, you can sit down and this game will be like a giant pointing arrow. It says play this way. And you will do well and you will have fun and this is the genre here. It is. Go this way, and there isn't a whole lot that isn't sort of baked, it isn't the genre. And so you will accidentally play that way. And yeah, will accidentally build a story that hits that genre perfectly.
Brandon Leon-Gambetta 45:12
Yeah. And you can really see that if you start to play multiple games of masks, because the playbooks contains so much of that drama, that like if you play a game that is the the Janus, the legacy and the beacon, it's going to be bright and happy and pretty good. If you're playing a game that is the doomed the transformed and the delinquent. It's going to be really sad. And that isn't based on anything but the playbook driving you in the exact direction you need to be going,
Ryan Boelter 45:45
because the playbooks basically set up how the story is going to feel, which is really interesting,
Amelia Antrim 45:50
which I was really this is the first time that I've sat down to do anything with pvta. And, and so the idea of playbooks was a little bit weird to me, because I, I'm my process for creating characters usually just start with, like who I want them to be as a person, and then figure out what mechanics reinforce that. And so sitting down to do it with a playbook phone really sort of out of character for me, I wasn't sure how that was going to work out. And I was very very surprised at just how broad everything is and how much like detail and personal input I could still have even though so much of it as outlined already.
Ryan Boelter 46:34
Yeah, seems like the the reason why it's so in general, is to get you to fill in those blanks. So you are even that much more emotionally invested in your character. You're not just invested in who they are as a person and whatnot. You're invested in how their abilities Look how, how everything about them comes to be within the game, including the relationships with everybody else. So in your party Exactly,
Amelia Antrim 47:00
which I think kind of brings us to our next question a little bit too, which is to talk about how the, the process of making a character in the system either adds or detracts from immersion in the in this world.
Brandon Leon-Gambetta 47:15
I think that maybe the thing that it most does is it gives you some ideas of the boundaries of the world. So like, let's say that all the players sit down, and you make a Jessica Jones, Luke Cage, and Daredevil, and then someone else comes along and makes a very bad character. Um, then you know, okay, we're looking at a world that there are people that have some above human abilities, but it's relatively light fare. If you come to the table, and someone says, Hey, I'm the Janus. That means my powers don't didn't change me all that much. I can turn into Liquid Metal and fly through the internet then established a very different world you know, and like they can exist within the same world like we've got the the defenders and the Avengers and the Great Lakes Avengers and those are all very different things. But the x men maybe you know my favorite series, but you can create you by creating your characters. You go post for the GM, what kind of a world you want to see if everybody makes a martial artist, then I should be looking at my my mind controlling dreamscape poison drinking dude, and saying, hey, this might be from a different comic Ron than the one we're writing right now.
Ryan Boelter 48:48
It's like inserting Deadpool into pretty much anything.
Brandon Leon-Gambetta 48:50
Yeah, exactly. Except for except for the Great Lakes Avengers, actually.
Unknown Speaker 48:54
Amelia Antrim 48:56
Yeah. I mean, I would kind of say that masks does have its own setting like you have Halcyon city. Yeah. But really, in sitting down and creating these characters, and we didn't have to worry so much about immersion, because we were kind of making the world as we made the characters. Yeah. So it's, I don't know, almost like a backwards way of doing it.
James Malloy 49:20
Just to like to bounce off of what Brandon was saying, like one of the biggest immersion breaking things for me in character creation usually is, I can't tell you the number of characters I've made in in like old, like the old serenity System, or ndnd, where we all sat down to make characters and we came back and I had made a character that was absolutely supposed to be in a different story. The game mechanic and so there's there's kind of that like, first contact, like when do you first contact other characters, and for a lot of games of d&d, it's very plausible that everyone will make their characters in a vacuum. And so first time that you As a player have contact with the other players characters is when you all sit down at the end to like talk about your characters. But the way that masks works is it gets you past a lot of the sort of like, just like fill in the blanks type stuff early and gets you straight away to that first contact, where you're interacting with each other's stories, and narrative and characters and stuff like that. And so it does a lot to prevent, like, if you sit down and make start making a masks character, and you're the player who's making that character that's like wildly powerful in a low level, like sort of defenders style story, like you're going to find out really early. That's the case. And you're either going to pull it back, or you're going to have to think about why narratively is my character that is so much more powerful hanging out with these characters, because you're building that narrative together so much earlier in the character creation process.
Ryan Boelter 50:50
Yeah, and I think the really, when I'm looking at it, the only part about the actual character creation that could even remotely detract from immersion. is figuring out where you want to put that plus one to your.
Amelia Antrim 51:04
Yeah, it's like the only mechanical
Ryan Boelter 51:06
it. I mean, you can look at it completely from a mechanical standpoint. Okay, what moves did I choose? And what will benefit me the most that way, you could do that completely robotic. But when you think about the labels, and what each label means to your characters, which I know James is a big fan of you, you basically are still in a full level of immersion, figuring out where you want that plus one because if you think, well, this character, they have a minus one in danger. And I think they're actually a lot more dangerous than that and they feel themselves as dangerous. Maybe I'm going to put my plus one there, even if it doesn't make sense to the rest of my moves.
Elsbeth Denman 51:47
It can also connect to the the relationships that you're building, because as you're building relationships, you're telling little vignettes of pieces of your life and you're hearing pieces of your the other players lives and there could be something in there, that connects you strongly to somebody else. And maybe you were feeling really superior but now you're feeling more mundane and you know, it can be affected by even just that little mini role play in the beginning that is so crucial to the character creation. So I don't even think that that one stat change can pull you It could pull you out if done that way but it can easily be so so interwoven into the story.
James Malloy 52:30
I usually recommend doing that plus one at the end because if everything else in the in the character creation is pointing you toward like, like I'm looking at the transformed playbook right now. And like the transform starts with a negative one and in superior and mundane and a plus three and freak and so everything about that playbook is pushing you towards creating a character. It sees themselves as very strange, very weird, not very cool, like a very good, not not not better than other people and not even very nice Normal, and and so you will own like nine times out of 10, you will hit that last set of labels perfectly during character creation. And the plus one just sort of says, Where did I, through the narrative creation of this character? Kind of like Miss just a little bit? And how can I reconcile that. And in mine, I said, like my character kind of wants to use the fact that they are a little bit freaky, to draw fire and save other people. So like, I'm going to kick my savior up to one from zero, because that's just sort of the specific character that I made.
Brandon Leon-Gambetta 53:31
It also really gives an opportunity for the GM to say, hey, in session one, what am I going to push? Because if they gave themselves a plus one, you can either say, Oh, you think you're dangerous? Well, let's see how dangerous you can be. Or you go, Oh, you think you're dangerous? What about when you enter the big leagues? And so the one that people added the plus one, two, is like the little flag that they've In saying, Hey, I'm interested in having a conversation about whether this is me or not. That's very interesting.
Amelia Antrim 54:05
Well, and I think that the way that you build a character in the system too, because it's, you have all these little sections and your playbook. But there's not really any indication necessarily of which one you have to do first. So really, it can be kind of as immersive or non immersive as you want. Because you can decide which parts you fill out first. So you can do things right away, like, you know, if you wanted to put your plus one somewhere right away, you can get that out of the way and then kind of dive in or you can choose to do that last, like you guys described to say, you know, here's a, here's the thing that sort of reinforces all the other choices that I've made.
Brandon Leon-Gambetta 54:44
That's also in some ways, a little bit of a false choice. Because like, labels move a lot in this game.
Unknown Speaker 54:53
When done correctly, yeah.
Brandon Leon-Gambetta 54:54
When you I don't know if you you haven't hit our first volume. But the first 30 seconds of one of our characters being in the scenes included her labels shifting. And I think if you extend that to two minutes, it included her labels shifting twice more than Yeah.
Amelia Antrim 55:13
Yeah. So it's not as integral to who you are as a person. Overall, like it's, you know, like, real humanity kind of depends on your mood and what you're doing at that moment. And
Elsbeth Denman 55:25
it's a way of tracking growth. It's a way of tracking like, how you're feeling, how the world is affecting you how you're affecting the world and and others in it, and what things are going to stick on you what labels are going to stay kind of the same and which ones are going to fluctuate a ton because you're the most affected by them.
Amelia Antrim 55:44
Once they seem to be an indication more of how you see yourself than anything, which if you're honest, even as adults changes day to day, some days I feel really great about myself and some days not so much. So it makes sense that those are a little more fungible. What's also very cool is that one of the advancements, at least one of the advancements, I think it's one per playbook has lock a label, at least it would
Unknown Speaker 56:09
at least two, okay?
James Malloy 56:11
Because your your moment of truth locks a label, I think, Oh,
Brandon Leon-Gambetta 56:14
yeah, that's true. The moment of truth, lots of labels, you actually I think you can lock three labels go through the course of your characters lifetime. But that is as they become more of an adult and their identity becomes more sure of themselves, like, you see, like, Spider Man, Spider Man changes a lot. He thinks he's dangerous. He thinks he's a freak. He thinks he's smarter than people. He thinks he's just a kid. But he always knows he's a savior. Yeah. And that's important to that character. And like in very, very early Spider Man, stories, like you know, just coming out of origin sort of things. He might not know he's a savior yet, but as soon as he's been in a run for a little bit, that is the most important thing. And so locking those labels is when you are saying know people are telling me all this time who I am, this is who I am.
Ryan Boelter 57:05
So before we get to advancement, how about we talk about our specific characters a little bit and how the group cohesion works. I know in a lot of different systems, you know, you've got your tank and healer and damage dealer and all that stuff. But masks is is quite different from a lot of things like that. And I know in this game, any group combo can work. But how does how do you foresee this group? A working together with the different playbooks that we chose and the the different characters that we created from those playbooks?
Amelia Antrim 57:46
Maybe a better question is, we talked a little bit before about how the kind of characters you pick can kind of set the tone to and so maybe that's almost a better discussion to have here whatsoever. Then We rounded, you know, well rounded as a team, but what kind of game would you end up with with this group?
Brandon Leon-Gambetta 58:08
So I think one big thing to look at is that there's a couple of playbooks that automatically shift the tone in a really big way. Some people in some other games, like if you're talking about monsterhearts, people say that the chosen does that and just like is now we're playing monsterhearts plus the chosen and that is a different game. And masks doesn't quite go that far. But if you have a doomed, your story is sadder. Yeah, period. Because, you know, that's fine, because a big part of this game. Um, and so if you have that that is automatically going to be there. If you have the beacon, you automatically are going to have extra hope, because that's what the beacon is about. I think with our crew, we've got a couple of the very sad playbooks. But knowing that because the transformed is also a very sad playbook, and the delinquent can often Be a very sad playbook. But the characters that were built within those, I think aren't necessarily dragging it down in the same way. I think whip is. I mean, first off, it's played by James. So whip is going to be fun, automatically. But additionally, like, whip has emotional connections to things and can fit and exist within the team in a really positive way. And idealist gets into trouble. But it sounds like idealist can be fun, you know? Yeah. And so I think we've actually got a relatively emotionally balanced team. Something that I look at in terms of kind of team composition, is whether you've chosen moves that direct you towards the team or direct you away from the team.
Elsbeth Denman 59:55
Yeah, that's true.
Brandon Leon-Gambetta 59:56
So the two moves that I took, I took I am what you see when you see talking with someone about your identity, you can ask them which label they want to impose on you. And I'll save you, you're willing to pay high costs reveal your secret identity or market condition to defend a loved one. So I'll save you can definitely be used with teammates if they are a loved one. And but that mostly points at NPCs that's pointing at my characters family that's pointed at my character sitting a significant other. But I am what you see, is talking about your identity. And some of the only people that are going to be able to talk to me about both of my identities are my teammates. And so those are people that I'm going to definitely be triggering that move with often which keeps me tied into the team while also having the opportunity for me to go. No, we don't have time to fight inspector in Sector right now. I need to go save her.
Ryan Boelter 1:00:51
Yeah, it kind of seems like our team. For the most part. We're relatively happy People I guess, and and seems to be somewhat optimistic to I mean, even the doom that we have, is optimistic that she will, you know, conquer these, this Doom thats hanging over her head, even though she knows that it's coming. And for me, I've got my parents are probably dead. And I got abandoned on this planet and I have no idea if I'm ever going to see another one of my race but you know, I'm happy go lucky. I'm, I'm just happy to be here and happy to be alive and happy to be able to make a difference with these group of friends that I came in.
James Malloy 1:01:41
I think also that beyond just sort of a general sense of happiness, like, almost all of our characters have sort of a core. I mean, this is like, this is just getting back to some of what like masks does like for every character you make, but all of our characters have sort of this core question of like, what does it mean to be me here right now. Like, or like, Who am I? Like the doomed is like dealing with, like the fact that you've got these powers from this, like this crazy energy fact company that's like maybe doing tests on people. I'm like, what does it mean that I've got these powers that I can use to help people, but also, they're killing me, and that I'm probably going to die. Like, I'm not gonna live to be an older person because I'm doomed. Like, Mishra is like an alien, like what does it mean to be an alien on a planet? And you don't have that much contact with the people who look like you? Or like, obviously, Tommy is like, I am a car and I used to have friends and I care about all these people. But can they still care about me the way like what does it mean to be mean now because me is sometimes a car or like, especially I think almost more than anybody else, like ag is sort of is is is has two sides to their person. And and like which of those is the truer side, the only one who doesn't sort of have that sort of like core existential question about what does it mean to be them is really kind of Cordelia. But that works because the delinquents sort of is all about breaking out of molds.
Elsbeth Denman 1:03:08
And also you don't know me. So
Brandon Leon-Gambetta 1:03:13
I think there is a piece of team composition also in terms of like having character abilities that get the job done. Because you could really put together a full team that doesn't have anybody who knows how to throw a punch. And yeah, if you look at actually the Prothean city crew, we have one character that knows how to throw a punch. That's true. And that's okay, because we also have characters that know how to do we also have the Nova who can do some of her magic stuff. We have other characters that can kind of tussle, but like if we didn't have the Nova, and if we didn't have puck, super strength, then like, we'd be a team that's like, Hey, we can Deal with threats as long as they don't hit us really hard. But I think that we kind of covered you can do that, like, yeah, you can do that. 100% Yeah.
James Malloy 1:04:06
And you can put it in like, like in an upcoming episode and in a character that I've played in, like, just personal games. I've made masks characters who have no offensive powers.
Elsbeth Denman 1:04:18
Yeah, the last one. He was a fence. Yeah,
Unknown Speaker 1:04:20
Unknown Speaker 1:04:22
talking about him because he's coming up in an episode is coming up. No, really?
Unknown Speaker 1:04:25
James Malloy 1:04:28
So I made a character who like has powers, but those powers are not effective at fighting crime, or literally doing anything.
Unknown Speaker 1:04:36
I'm so excited. I didn't know.
Unknown Speaker 1:04:39
It's gonna be good.
Unknown Speaker 1:04:40
James Malloy 1:04:42
But if you made a whole whole team of those characters, you'd have some problems, or you'd have a reality show.
Unknown Speaker 1:04:47
Amelia Antrim 1:04:49
yeah. I mean, or your GM would sort of GM a different kind of Yeah, too. Because that Yeah, you know, important part of the job of the GM to is to sort of build the game around what people are interested in playing So, that's what your group comes up with then
Brandon Leon-Gambetta 1:05:03
I'm just reminded of luck. Yeah, I'm just reminded of the x men character, Doug Ramsey, also known as cipher whose mutant power is languages and bad
Unknown Speaker 1:05:17
Brandon Leon-Gambetta 1:05:18
and he was a core in really important character for like, a long time. I said X amount. I'm actually it's, I believe it's a New Mutants actually. So don't ask me. But there's tons and tons of scenes of the team being together and fighting in the danger room and doing cool stuff. And Doug being like, okay, so I guess I'll be running the Danger Room, because he doesn't do he doesn't do watching.
Ryan Boelter 1:05:49
And it's definitely a good choice. If you want to have completely cerebral character that is not a powerhouse because that can make for a very Interesting story if, if they happen to get into a situation that they can't handle in a particular way, they have to figure out a different way out of it.
Brandon Leon-Gambetta 1:06:09
Someday we're going to get soaked in like an underground villain fighting ring. And it's going to be the best.
Elsbeth Denman 1:06:17
That's so far down. We need him to knock it down.
Amelia Antrim 1:06:23
I feel like it would be really fun to play a game of this though, where you are all superheroes with like, the most mundane, like sort of nonsense powers that are like who are like, Oh, that's a cool thing that you can do, but it's like not remotely useful. Yeah. And, like, what that feels like in a world full of people who can fly and you know, create swords with their mind or, you know, like, What is that like to be the person that's like, Oh, you know, like, I can bend all of my fingers backwards.
James Malloy 1:06:53
Like what I'm Jubilee. I can make fireworks.
Amelia Antrim 1:07:00
I want to spend some time exploring what is it like to be that person that's like, Oh, I'm special, but not that
Ryan Boelter 1:07:06
kind of the plot of mystery man.
James Malloy 1:07:08
Yeah, yeah. And masks can do that. Yeah. Because that is the thing that is great about the vagueness of the the powers is that they can let you take the narrative where you want to go, they'll help you stay on genre, but they'll they'll let you do high powered x men crazy super like, like, whatever world like world reality bending powers, but also mystery man. Right?
Amelia Antrim 1:07:31
Well, and like your bone regeneration could really just be like, Oh, my arm fixes itself. Yeah, my bike.
Brandon Leon-Gambetta 1:07:40
Just like, here's a behind the scenes on a Character Creation Cast. Uh, my initial plan for calavera was bone generation, as in healing my bones and energy absorption as in as I get beat up and get hurt. I get more angry and more willing to fight. And I was going to make basically like a kick ass level character. Nice.
Ryan Boelter 1:08:04
Well, I know we could talk about this for hours, probably but I know we're in a little bit of a time crunch. So how about let's go ahead and move on to our character advancement discussion segment and take it up a level.
Amelia Antrim 1:08:20
So right now we're going to talk about how characters advance what that looks like what it means for your character. So we're gonna start really at the beginning is how does the character level up in masks and what do you get when that happens?
Brandon Leon-Gambetta 1:08:36
So when you roll a mess, you mark potential which is basically a little experience track. Additionally, some playbooks have moves that also caused them to mark potential. When you mark for the fifth time, you get to pick an advancement from your list that is on your playbook. It is things like take a move from your playbook. Take one from another playbook, someone loses influence over you add plus one to a label change. change how some of your features work sometimes get a feature from another playbook. And the moment of truth as well as a couple of other things, including taking an adult move, and retiring from the life or becoming a paragon of the city. The most important thing to remember with advancement is that it is narratively and mechanically bi directional. So, when you take an advancement, the narrative changes, because you took that advancement. And when something happens in the fiction that demands a change in your abilities, your abilities change. So as an example, let's say that calavera has been fighting crime for a while, and she's been doing great. And then she's on national TV, and has her moment of truth and she's going around without her mask on. She's kind of no longer the Janus because her identity is now fully known by everybody across the entire country. So the secret identity is kind of blown. If at that point, someone comes out and goes like, Hey calavera, I will train you and help you to become the superhero you could be, then maybe she's now the protege. Or maybe she's now the legacy. If you are the beacon and you fall into a vat of chemical waste, and you come out transformed and scary and powerful, you're no longer the beacon, you're the transformed and that change just happens and so you lose the things from your playbook that are no longer important, because now you are the transformed but you keep the things that are still important to you. What's interesting,
James Malloy 1:10:41
every masks character is just one vat of chemical waste away from becoming the transformed That is very true.
Amelia Antrim 1:10:47
Every superhero is
Brandon Leon-Gambetta 1:10:50
also one interdimensional one interdimensional trade away from being the doom
Unknown Speaker 1:10:55
Unknown Speaker 1:10:56
very true. I like that
James Malloy 1:10:58
because of the way the The moves are formed. And that so many of the advancements are like pick up a new move or pick up a move from a different playbook or shift your labels. There isn't that like, and this gets back to what I was going to say about immersion breaking is that there isn't kind of that moment where you're like, I leveled up, and suddenly I have a better sword. Or I can cast six more spells today, or, like, there's no like that there isn't that lesser of like jarring, like in the middle of the thing, suddenly, I can do something totally different. Because everything in the playbook is already sort of hitting the same theme, suddenly changing the way that you like, interact with the world a little bit. And giving you a new like mechanical option isn't going to radically change your character. And especially because you can describe the narrative of how that plays out. I mean, and even something is I think the most dramatic is like the Nova and the doom do get magical powers. But with the doomed it's because like so the doom has sort of a secondary progression track. You marking their doom. And when they get a new Doom sign, it's explicitly because they've, they've sort of, they've touched on their doom. They've touched on their corruption. So much that they've like they've bonded, like they've drawn the doom closer to them. And they've ramped up their powers and so it can kind of be narratively explained as a suddenly I manifest this new scary ability.
Brandon Leon-Gambetta 1:12:23
Yeah, probably the power that is hardest to explain narratively. Is the outsider move Kirby craft, where you
Unknown Speaker 1:12:31
have a spaceship? Oh, yeah.
Brandon Leon-Gambetta 1:12:33
Because anyone can choose the spaceship, you can be playing the bowl. And then you just have to explain it narratively, and you say like, okay, let's make a good opportunity for the bowl to break into a facility that has a spaceship and
James Malloy 1:12:49
steal it. A lot of the moves in that way, become things that aren't necessarily literally meant to happen in that moment, but they become plot hooks. four things that are going to happen in the next adventure,
Brandon Leon-Gambetta 1:13:02
but they totally can also be things that happened in that moment. Uh, yeah, the bowl has in a china shop. And it kind of, if you look at Cyclops, right, Cyclops frequently has gone from being whatever Cyclops is maybe the protege to being a nova. And because sometimes Cyclops just becomes super duper powerful and destroys everything. But a nice intermediate step is him taking the playbook move from the bull in the china shop, when you directly engage a threat, you can cause significant collateral damage to your environment to choose an additional option even on a mess, because that is going okay, it's time to up my power level. And anyone can take that and apply their power level interest. Yeah,
Amelia Antrim 1:13:47
I think it's also cool, too, because we in we talked a little bit in our d&d episode about how sometimes there are kind of prerequisites to getting the thing that you want. Yeah. You know, to, to get this thing that I want it level 20 I have to make sure that I do these other things at level 579, whatever. And you have to plan things out strategically. And you know where you're going, you can see the whole arc from the beginning. And this is the complete opposite of that. Because you're, you're playing out the game. And as it plays out, you say, okay, I've done this thing. Now it makes sense that I would have this move. Yeah. And so it's, you can't plan it out at all. And so I look at the concept of, you know, James and I both having filled out things on our character sheet for the dude. And we have totally different characters and what that would look like in you know, after leveling up, quote, unquote, like five or six times, we would be even further apart.
James Malloy 1:14:53
Yeah, something that is very interesting in a sort of like meta mechanical way is If you think about your typical like class like the 20 system class progression, you sort of start with like you've got one way to do things like you as a wizard you don't really have a whole lot of you have like one or two spells early on so like that's the way you do things you do those one or two things. And as you level up maybe you pick up a feat that gives you a weapons proficiency, or you you unlock more spells for your spell book so as you move on and advanced as a character, you get more options for how you do things, but in masks because in that sort of like meta way we were talking about you your your stats are very fluid early on. So like you may start with low danger but a couple minutes into the session you may have adults constantly telling you telling you that you're the most dangerous person there so your danger will get super high and all of a sudden it makes the most sense for you to be this Brawley type character. And as you level up as you're taking your moment of truth is you're taking the advancements that lock your labels, you are a lot like I think We determine because you can do your there's always one advancement that locks a label and two moments of truth so you can lock three of your five labels so the by the end like as you're getting a high level character you're planting a flag and saying no this is the way my character does things are becoming more rigid and and and like more focused in the way you do things and you're going to have fewer options because if you've locked your danger at zero, because you're saying no, my character is not dangerous. This is not the thing that's important to them, then then that's just never changing it from that point on.
Brandon Leon-Gambetta 1:16:34
Yeah, people think of locking the label as being like this is what I'm gonna lock my plus three, but it can just as well here minus Yeah, yeah, I'm not dangerous. I'm I am a cipher. I am not dangerous. minus two.
James Malloy 1:16:47
Yeah, it would be so cool to play that late game, transformed who locks their freakin negative two and says, No, I'm not freaky. I'm not weird. Everyone's weird. I'm normal. Like this is just the way people are an accent. That gotten
Amelia Antrim 1:17:00
used to me by now. Yeah.
Brandon Leon-Gambetta 1:17:02
And then one of the advancements is being an adult and retiring your character and becoming a paragon of the city, in short term play, that doesn't really tie in, in an enormous way. But like, for for us specifically in our podcast, if someone chooses that, then they are a paragon of the city, they are on the same level as every other adult hero that we see. And that means that they're going to act like an adult hero, which means they're going to be short sighted at times, and they're going to have be really rigid, and they're not going to be able to change who they are, because they are who they are now. But they're also going to build like, trounce you guys in terms of like, skill, like, do not fight centuri on one on one. Nope. Right. Like that's just that's just not an option. And if frequency hits is sick that advance and chooses That one, then that means that he is the
Unknown Speaker 1:18:03
Brandon Leon-Gambetta 1:18:05
He is the psychic techno guy, and no one can beat him.
Ryan Boelter 1:18:10
So would it be beneficial to have character advancement in mind when you're actually creating your characters in this system?
Brandon Leon-Gambetta 1:18:17
I think it can be for one thing. Take a move from another playbook is in every powered by the apocalypse game. And it's a very cool thing. But at the table, it slows things down dramatically. So I think it can be worthwhile to glance through the other playbooks and see what moves might appeal to you when you hit that point. I'm like, I was just looking at the bowl. And I saw there when it matters, which lets you show up to defend somebody later on. Oh, that's good. And I love that and like, I'm probably going to eventually take that move for my regular PC. I'm starting up soon. And like, I don't know when I'm going to take it. But when it's dramatic appropriate and I hit the right level. I'm going to take it
Ryan Boelter 1:19:03
yeah and I was looking at the at the outsider playbook and one of the advancements is choose to abilities from another playbook. And yeah, it's like well, I could easily dramatically increase my power or I could wait and do something that's going to be super narrative towards the character and it might not even be anything that's the super advanced or anything like that. Just you know, this is just what my race experiences when we grow up. We get things
Brandon Leon-Gambetta 1:19:34
done generation Yeah, bone generation.
James Malloy 1:19:36
Yeah, I'm gonna say no I for that for that reason in particular, like because so many of the moves are so narratively fluid they give you that room like it Yeah, I think it makes sense to wait and sort of see what happens in the game and and not plan out your character like just play to find out what happens. Yeah, happy
Elsbeth Denman 1:19:54
medium with that is like I was facing that advancement. The Brennan was Talking about, you know, choosing another move from another playbook. So I came in with a list of a bunch of different moves from different playbooks that I thought, okay, if this happens to my character, this could be applicable. Okay, this other thing, maybe these two are applicable. So I had like a list of eight of them, and a couple of notes on each one saying, what is the catalyst for this choice to make the playing at the table go faster, but to also not make that decision too early.
Brandon Leon-Gambetta 1:20:30
Another thing to keep in mind is that fat is that bi directional thing is that you can retire from the life at any point, just if you choose retire from the life as an advancement you've paid for it. And so the GM at that point should probably give you a little bit of a break and let that character maybe live the life that you set up for them. Let the player give the epilogue instead of the GM. But like, there is nothing wrong depending upon how your team plays and how your table plays with someone. getting really angry and leaving the team or getting really angry and becoming a villain. And that would they can't continue playing as a PC probably. But maybe they can for a little while maybe we can have them living then their new life for a session and see if it goes somewhere or see if this is permanent and if it's permanent, then we're probably not having them as a PC anymore.
Ryan Boelter 1:21:29
And either way that you go it's pretty much all player agency based it's what the player kind of wants. It's not the GM forcing things on the player unless you know it's it's disrupting play for everybody else.
Brandon Leon-Gambetta 1:21:45
Yeah, you could be a leg you could be a legacy that falls into a pit of chemical acid and comes out the transformed and say, You know what, but being transformed been scary looking is not the most important. Part of my story, the most important part of my story is the legacy and then not changing playbooks. Yeah, exactly.
Amelia Antrim 1:22:07
Alright, so with all of that, thank you all for joining us for our masks character creation and discussion episode. We would like to remind our listeners where they can find everybody and what everybody's up to. Let's start with you elsbeth
Elsbeth Denman 1:22:21
you can find me on Twitter at the cat on the wall. You can also find me on our discord, which I'm sure James will give you the link for and I run our Instagram page at protein city comments.
Amelia Antrim 1:22:35
All right, and James
James Malloy 1:22:37
I'm James and you can find me on Twitter at and the meltdowns or the discord which is at discord dot snapback enroll calm or tiny url.com slash sh or Discord. I'm also on the stop hack enroll podcast and protein city podcast
Brandon Leon-Gambetta 1:22:56
and Brandon. Hi I'm Brandon and James left All of the Twitter's to me. I am personally at Dr. Captain cobalt. We also have our two Twitter accounts at stop hacking role and at Prothean city. But I additionally am making the game persona less plus Jonas which is available in ashcan format through magpie games or on Drive Thru RPG. Check that out to its telenovelas powered by the apocalypse.
Amelia Antrim 1:23:28
Whoo. Pretty excited. I'm really want to dive into that one at some point to have you back to
Brandon Leon-Gambetta 1:23:35
that one. It's a lot of fun. I have to say I've been really enjoying it.
Amelia Antrim 1:23:39
Well, thank you, everybody, for joining us. We really appreciate it.
Brandon Leon-Gambetta 1:23:43
Thank you so much for having us. It's been a delight. Thank you for having us. Yeah,
Elsbeth Denman 1:23:46
it's been great. Thank you so much, guys.
Ryan Boelter 1:23:48
It was so much fun. And thank you everybody for tuning in.
Ryan Boelter 1:24:02
Character Creation Cast is a production of the one shot Podcast Network and can be found online at www dot Character Creation cast.com. head to the website to get more information on our hosts this show and even our press kit. Character Creation Cast can also be found on Twitter at Creation Cast Born on our Discord server at discord Character Creation cast.com I am one of your hosts, Ryan bolter, and I can be found on Twitter at lordan Neptune or online at lordan Neptune calm. Our other host Emily antrum can be found on twitter at ginger reckoning. Music for this episode is used with a Creative Commons license, or with permission from the podcast they originated from. Further information can be found within the show notes. Our main theme music is hero remix by Steve combs and it's used with a Creative Commons license. This podcast is owned by us under Creative Commons this Episode was edited by Ryan bolter. Further information for the game systems used and today's guests can be found in the show notes. If you'd like to leave us a rating or review, we have links to various premium platforms out there, including the apple podcasts in our show notes. Also, check the show notes for links to our other projects. Thanks for joining us. Remember, we find that the best part of any role playing game is character creation. So go out there and create some amazing people. We will see you next time.
Unknown Speaker 1:25:48
Now we got a ransom show burbs show blurbs
Unknown Speaker 1:25:53
Ryan Boelter 1:25:56
Character Creation Cast is hosted by the one shot podcast network. If you enjoyed our show, visit one shot podcast com, where you will find other great shows like modifier.
Amelia Antrim 1:26:08
modifier is an interview show hosted by Megan Darren Brock. All about why and how people change games. From hobbyist to the professional from house rules to publication. We all have in mind a better way to play. What's yours? That's the better question. It's like what do we do it? How did I get here guys?
Elsbeth Denman 1:26:27
I'm just guessing that I sound okay.
Unknown Speaker 1:26:29
You did you do?
Amelia Antrim 1:26:31
Fantastic. Oh, thank you. I know that when he edits me I was like, Can you just make me sound a little bit thinner. don't
Unknown Speaker 1:26:47
Unknown Speaker 1:26:49
That's definitely doable.
Unknown Speaker 1:26:51
Shut up, James.
Ryan Boelter 1:26:55
Dun, dun, dun man. Wonderful, man.
Elsbeth Denman 1:26:59
Yeah. Like man who lives in done wonderful.
Unknown Speaker 1:27:03
Elsbeth Denman 1:27:06
that's actually my family history. We lived in a den.
Unknown Speaker 1:27:09
Well there you go.
Amelia Antrim 1:27:10
Like a den like a like a family room can I go
Elsbeth Denman 1:27:14
to against a rock on a mountain years?
Brandon Leon-Gambetta 1:27:17
They moved into someone's mansion and they're done.
Elsbeth Denman 1:27:21
We have lots of books in a fireplace. That's really
Unknown Speaker 1:27:25
great. I will
Ryan Boelter 1:27:26
try that again. elsbeth done, man. I'm sorry.
Elsbeth Denman 1:27:31
That you can say the first name and not the last name.
Unknown Speaker 1:27:35
Elsbeth Denman 1:27:36
so yeah, and nailing it.
Ryan Boelter 1:27:37
Yeah, well, thank you.
Elsbeth Denman 1:27:39
Oh my god. That's my cat. You can hear trying to break into the door. They're very needy. So I hang out with cats.
Unknown Speaker 1:27:48
Who knows what this game is about? It will
Elsbeth Denman 1:27:50
know me. I got nothing.
Unknown Speaker 1:27:54
Ryan Boelter 1:27:59
James is not editing This episode Yeah,
Brandon Leon-Gambetta 1:28:02
please don't make Brendan Conway hate me.
Unknown Speaker 1:28:07
Gotta be in my own cake.
James Malloy 1:28:10
You would get by with one few really good. Do you really? If you took the ability superfast rolling remember, just roll the die and remember what it said and roll it again
Amelia Antrim 1:28:25
you got to add them up either way though.
Brandon Leon-Gambetta 1:28:27
If you need an additional DS x in order to play masks, I will
Unknown Speaker 1:28:30
I will give you a D six at a convention.
Unknown Speaker 1:28:34
We're gonna start a charity it's D sixes for the children.
Amelia Antrim 1:28:38
Dice to two children in need.
Elsbeth Denman 1:28:41
tv live special. Yes, yes. Oh, there it is Brandon.
Brandon Leon-Gambetta 1:28:50
So having the kind of oh my gosh Pippin has to be drinking from his water thing right now. I'm
Unknown Speaker 1:28:57
Brandon Leon-Gambetta 1:28:59
cut back That doesn't make any sense. Give me a second.
Brandon Leon-Gambetta 1:29:05
It also has a lot of stuff that God I keep screwing up what I'm saying.
Unknown Speaker 1:29:11
It's Wednesday this happens. Yeah.
Brandon Leon-Gambetta 1:29:15
So I can go does it if you know I let me know if I'm talking too much. Um, but people want.
Ryan Boelter 1:29:22
We like hearing you talk, Brandon.
Brandon Leon-Gambetta 1:29:24
Thank you. My soldier tones. Okay, good.
Elsbeth Denman 1:29:27
Yeah, I'm still working. It's
Brandon Leon-Gambetta 1:29:30
all right. Do you take a pause between the talk there and making the actual characters are no,
Ryan Boelter 1:29:37
we Yeah, we take a little bit of pause to put in a little transition.
Brandon Leon-Gambetta 1:29:42
Okay, because I would love to throw some sweet potatoes in the oven. Oh, they're not a metaphor.
Amelia Antrim 1:29:50
Really actually making dinner? Yes. Yeah, what you do in your own time, I guess. Okay, so
Unknown Speaker 1:29:56
Oh, I'll be right back.
Unknown Speaker 1:29:58
Unknown Speaker 1:30:00
Doo doo doo doo doo doo Come on
Unknown Speaker 1:30:08
peanut butter. Thank you go
Unknown Speaker 1:30:11
Brandon Leon-Gambetta 1:30:14
I didn't mute my mic when I left.
Amelia Antrim 1:30:18
We heard that
Unknown Speaker 1:30:20
He is a good boy. Just have them sing something. Oh fine have plans or
Unknown Speaker 1:30:25
Elsbeth Denman 1:30:27
I sing the Prothean city music every Wednesday morning before we listen to Brody and city just to irritate Mark like on our way to work. I'll just start singing it until he puts it on
James Malloy 1:30:36
Brandon. Hi. We are prepping to record our show usually sing our intro music for stand back and roll.
Brandon Leon-Gambetta 1:30:41
When we're getting ready to the doo
Unknown Speaker 1:30:49
doo doo doo, doo doo.
Amelia Antrim 1:30:52
How's the sweet potato situation?
Brandon Leon-Gambetta 1:30:54
control sweet potatoes are washed and in the oven. I forgot to preheat the Which is okay, they will heat up with the preheating and that should be fine it might extend it by like five, seven minutes. But other than that it should be good you don't lose a lot of quality in the skin by doing that so I'm okay with it.
Amelia Antrim 1:31:12
And after this we will discuss your sweet potato recipe that's really excited for a segment of the show.
Ryan Boelter 1:31:17
I want to hear what topping to go in there you're going to be doing manage to what's going on.
Brandon Leon-Gambetta 1:31:21
We've got a very nice chilly that we're using. Oh, alright.
Amelia Antrim 1:31:31
editor James, can you fix that? James fix all of this make it sound like
Brandon Leon-Gambetta 1:31:35
we made characters.
Elsbeth Denman 1:31:37
Make a song cool.
Elsbeth Denman 1:31:38
So other people want us on their podcast. I think we're cooler than we are.
Ryan Boelter 1:31:42
I think everybody's heard enough syllables where we have a few more cues fumer zooms Cute Cute, cute, quiet, quiet.
James Malloy 1:31:52
It's like 24 minutes of audios. Nice and make anyone say anything.
Amelia Antrim 1:31:59
also really great. For an audio medium yeah nodding and I did jazz hands before too and no one's gonna know
Ryan Boelter 1:32:05
what you sound perfect now though so you might be able to turn your video yeah.
Brandon Leon-Gambetta 1:32:10
editor James make it sound like she's doing jazz hands
Amelia Antrim 1:32:15
pretty sure that you have that effect
Ryan Boelter 1:32:16
on hand somewhere little jazz fanfare and there be good to go.
Amelia Antrim 1:32:20
Let's see if this if ruins everything or not.
Unknown Speaker 1:32:23
Still sounds good.
Unknown Speaker 1:32:24
All right. Welcome back.
Brandon Leon-Gambetta 1:32:28
Yeah, so I made a car
Unknown Speaker 1:32:35
Amelia Antrim 1:32:36
I didn't know that we had to all make cars.
Brandon Leon-Gambetta 1:32:41
Unknown Speaker 1:32:42
Amelia Antrim 1:32:48
Brandon Leon-Gambetta 1:32:49
I'm sorry I did I had a second that I lost my playbook.
Ryan Boelter 1:32:55
Holder the system says Prothean car comics
Brandon Leon-Gambetta 1:32:58
rodian city car show
Unknown Speaker 1:33:03
he is Kara.
Unknown Speaker 1:33:06
Sorry I sneezed. Oh.
Brandon Leon-Gambetta 1:33:09
Being a dishwasher
Unknown Speaker 1:33:10
Brandon Leon-Gambetta 1:33:18
Do you mind if I take literally two minutes to go? You know what, I'm going to give another five minutes because I let it heat up on its own. Nevermind.
Ryan Boelter 1:33:26
Alright, so I'm kind of excited about mine. Because I am going to attempt to recreate the The oven is going is making an alarm. Like because I set an alarm over there in addition to my phone, give me just a second feel free.
Unknown Speaker 1:33:40
Yeah, go for 222-222-2222 t t t t.
Ryan Boelter 1:33:48
I've got plenty of time.
Amelia Antrim 1:33:50
Plenty of time and plenty of stuff that we can cut out.
Brandon Leon-Gambetta 1:33:54
Only the things that I specified I believe
Ryan Boelter 1:33:58
not running to the oven for the You sweet potatoes?
Brandon Leon-Gambetta 1:34:02
I did not specify
Ryan Boelter 1:34:04
a stain and then I apologize. Yes.
Amelia Antrim 1:34:08
Like I have a name that traffic guy that
James Malloy 1:34:11
I didn't Yes. He will be named officer.
Amelia Antrim 1:34:16
Officer krupke right.
Unknown Speaker 1:34:20
God what's a good name isn't stolen from
Unknown Speaker 1:34:30
Hang on one second.
Amelia Antrim 1:34:32
Here we can name him after my fifth grade dare officer. Yes. His name. Now that won't work. It was no it's a really good name to
James Malloy 1:34:45
a web of bones.
Unknown Speaker 1:34:49
Brandon Leon-Gambetta 1:34:54
Okay, so now you can't release this until elf season which is December
Unknown Speaker 1:35:00
Okay, yeah, hold off.
Brandon Leon-Gambetta 1:35:03
Yeah, because otherwise no one will catch that twisted. completely ruined reference.
Ryan Boelter 1:35:09
We'll put that in the outtakes
Unknown Speaker 1:35:11
Ryan Boelter 1:35:14
out of there, James.
Amelia Antrim 1:35:16
Oh, we haven't said that yet. You guys have been recording for
Unknown Speaker 1:35:18
a half hour. That means we're doing well but it's all going to go downhill from
Unknown Speaker 1:35:22
here. No, no just everybody sorry.
Amelia Antrim 1:35:27
That's we played no thank you evil at one point with my kids and I asked my son, what weapon do you want? And he goes, I'm just regular punching. Great regular punching, just regular punching. Okay.
Brandon Leon-Gambetta 1:35:42
Do you have a family history of bone generation?
James Malloy 1:35:46
Here are the 12 ways your powers are gonna, like freak out and hurt other people around you.
Unknown Speaker 1:35:51
Yeah, I'm sorry. You're the Nova.
Amelia Antrim 1:35:56
I'm sure it's fine
Brandon Leon-Gambetta 1:35:58
to come down. I know. I'm recording and it's very sad.
Brandon Leon-Gambetta 1:36:04
idealist has powers that allow her to Pippin calm down. Oh my gosh.
Unknown Speaker 1:36:11
Oh, me too,
Brandon Leon-Gambetta 1:36:12
but he's very much wants my attention right now. We just got him a fidget spinner toy and he loves it and he wants to play with it with him.
Amelia Antrim 1:36:18
Wait, there's what four dogs? Yes, it doesn't actually.
Brandon Leon-Gambetta 1:36:22
Yeah, he holds it holds like one of the prongs that like one of the sticky note things in his mouth and it kind of explains back and forth. Oh, wow.
Unknown Speaker 1:36:29
That's so good. I'm sorry. I'm
Brandon Leon-Gambetta 1:36:34
also I think we worth noting also. Bread what a better but
Unknown Speaker 1:36:39
Unknown Speaker 1:36:41
Ryan Boelter 1:36:44
Brandon Leon-Gambetta 1:36:46
And at Prothean city, and at Prothean. City. Is it Prothean city radio is that the one
Ryan Boelter 1:36:52
they're trying to remember is another one that you created. I believe there's a secret run. Yeah, is proteins City or PC is PC Public Radio.
Brandon Leon-Gambetta 1:37:07
PC Public Radio that's what it is. That's that's the defunct old Prothean city radio station Twitter. It doesn't get used anymore by anything. Definitely don't look at it and 100% don't.
Ryan Boelter 1:37:18
Well, thank you everybody for joining us for these episodes. And thank you everybody for tuning in. Oh, up did I lose? And
Elsbeth Denman 1:37:26
I think he would you know, you're back
Unknown Speaker 1:37:29
and that's probably my God. Well,
Elsbeth Denman 1:37:33
thank you guys. You
Ryan Boelter 1:37:37
know, Wonder everybody's so quiet.
James Malloy 1:37:41
Yeah, and go check out Brighton city comics.
Unknown Speaker 1:37:45
perfect little rap.
Transcribed by https://otter.ai