I just realized I should have shared this with the Sagas community. Here it is!

I just realized I should have shared this with the Sagas community. Here it is!

I just realized I should have shared this with the Sagas community. Here it is!

Originally shared by Kit La Touche

So, last night I played Gregor Vuga’s Sagas of the Icelanders. I am totally in love with this game. When I first played Apocalypse World, I knew it had to be used for a norse game, and Gregor has made the game I hope I would have made if I could, and am glad he made so I didn’t have to try.

Here’s what happened. First, the backstory we set up, then the play, then some analysis.

————

The Saga of the People of Súrfjörðr

There was a wealthy man and goði named Hrafn who lived in Súrfjörðr in Iceland. His farm was named Gullinn, and he had inherited it from his uncle, Gamli, who first settled that area. During his life, though, Gamli had divided the farm to settle a dispute. The poorer portion of the land, but the portion containing the only landing on the fjord, had been given to a man named Kuggi. Kuggi had named this farm Höfn, and when he died he left it to his son Skúmr.

Skúmr and Hrafn were not great friends, but neither were they enemies. Hrafn hated to see how Skúmr let his meagre land go to seed, but though Skúmr was no farmer, he was too proud to sell his land back to Hrafn.

Skúmr was, however, a warrior. Hrafn’s valued húskarl Yngvar had taken Skúmr viking with him many times, and had saved him and been saved by him from many an Irish spear. It was in this pursuit that he found glory and the means to live, while his farm languished.

Skúmr had a daughter he raised as a son. She was called Helga, sometimes known as “Skúmarsson” behind her back, for she was known to dress and act like a man. After killing five men who had been outlawed in Breiðafjörðr and had come to steal her father’s cattle, she was called Blood-Axe, for the wood-axe she killed them with. Helga had no interest in suitors.

Skúmr, being such a bad farmer, came to owe Hrafn a debt, but he died with his debt unpaid. Hrafn decided that, though the debt was even greater than the value of Höfn, he would take that farm and be satisfied. Of course, though the land was not valuable for farming, he knew it would be valuable as a landing, and help increase his fame and wealth as his húskarls could more easily set out a-viking, and he could more easily trade for wood and other goods with Norwegians.

————

One night, near to midsummer, as they sat drinking in his mead-hall, Hrafn pulled Yngvar to him, and said that he should talk Helga Blood-Axe into giving Höfn to Hrafn. Yngvar boasted that, as he was an experienced man in matters of the world, and he and Skúmr had fought well beside each other, none other of Hrafn’s men was better-suited to the task at hand.

He set out from Gullinn towards Höfn, and there, at the wall that divided the two farms, he met the seiðkona Ingrid. Ingrid had been summering at Höfn, rejecting Hrafn’s hospitality in favor of a mean and poor-kept house. But she was a strange one, strong in the ways of seiðr, and no one begruged her choice.

She called out to Yngvar, speaking many strange rhymes and stopping just short of accusing him of ergi. But Yngvar was a practical man, and had no love for the gods or seiðr, so he kept walking.

He came to Höfn and saw Helga there, guttin an enormous cod. He spoke to her in fair words, saying that Hrafn would offer her six fine cows for her land. Helga scoffed at this, saying that the land was hers and no offer would suffice. Yngvar countered that Hrafn could take the land as payment for his debt, and no one would think twice. Helga paused, her fish-knife in hand, blood on her arms. She spoke these words:

If Hrafn would have Höfn, hólmganga

must be his means. Meet me on Mjaldaey

and answer to my axe.

Yngvar scoffed at this, and left without a word.

While this was happening, Ingrid had watched the fish’s entrails, and seen a vision among them: the matter of Höfn coming to arms, and Helga looking back from the far side of Súrfjörðr at her father’s home, now in the hands of Hrafn’s men.

Yngvar returned to Gullinn, and there, he found the goði outside the temple to Sýr-Frejya. The húskarl spoke to Hrafn thus: “The shield-maiden is stubborn, and will not yield, not for promise of silver nor threat of legal action.” At these words, the goði was furious. “You promised you would make Höfn mine, make good that promise! But I’ll hear you out. What do you advise?”

Yngvar considered this for some moments. “We have two courses: the law, or violence.”

Hrafn spoke: “The law is with us, but my cousin Ásbjörn has sworn to thwart all my efforts, and he sits on the quarter-court this summer. What of violence? Bring me the seiðkona who is in these parts, that she may tell me how it will go for us if we take Höfn by force.”

Yngvar, as has been said, had no love of seiðr, but Hrafn trusted in it deeply.

The seiðkona Ingrid came to the hall at Gullinn, and there she cast the runes and read them. The same vision of Helga cast out of Höfn came before her eyes, but she could not speak it. She and Helga had met as lovers, and she saw that the only way to protect Höfn would be to give Hrafn an ill omen. She spoke lying words of Gullinn lying in embers and ruins, and Hrafn was swayed. But Yngvar had seen how she and Helga had looked at each other when he was at Höfn, and saw now how she lied.

At this time, Helga talked with her mother, an Irish concubine of Skúmr’s named Kaðlín. She sought wisdom and advice on how to keep hold of the farm. Kaðlín considered carefully. Skúmr had cousins across the fjord, but Þórbrandr was a selfish man and cowardly, and unlikely to help. There was, however, an outlaw named Óláfr in the mountains around Súrfjörðr who was a mighty warrior and might help defend Höfn if Helga could find a way to convince him it was worth his time. Helga set out into the mountains to find this man.

At Gullinn, Ingrid the seiðkona knew that the Lady would not look kindly on the fact that she had lied about a vision she had been given. She went into Sýr-Freyja’s temple and asked the Lady how she might atone. She knew then that there was only one way: she must give Hrafn a gift even greater than Höfn. Had he wanted Höfn for the land only that would have been simple, but of what value was the unbounded sea to a man of ambition like Hrafn?

At the first light of day, Helga found Óláfr asleep and well-hidden in the mountains. She spoke to him boldly, and demanded his help. The outlaw was awake and with his sword in hand in moments, demanding who she was and what she wanted with him.

She explained that her farm was under threat from Hrafn. Óláfr bore Hrafn no love, but he had not lived this long as an outlaw in Iceland by trusting strange women.

Helga offered to prove herself by a challenge: “I will wrestle you, and if I prevail, you will fight by my side and earn my support in all things. If you prevail, I will leave and tell no man where you are.”

Óláfr laughed at this, the idea of wrestling a woman, but was so amused that he agreed. Helga won swiftly, dropping the warrior and placing her knee upon his neck.

That night at Gullinn, Yngvar told Hrafn all that was on his mind: that he knew what existed between the seiðkona and the shield-maiden, and that he did not believe that the seiðkona spoke the truth about her visions.

Hrafn considered this deeply. He eventually decided that he must therefore find another seer. By the end of the night, he decided that he must ask his Irish slave, Dúfa, or Colm as he called himself. Dúfa was a priest of the White Christ, and surely this White Christ would know the future in this matter, or he wouldn’t be much of a god.

————

First, pardon the horrible Icelandic. I don’t speak it at all, but I enjoy it.

This game did everything I hoped for. Lots of use of gendered moves, the presence of the shield-maiden meant gender-bent moves, too, and a couple custom moves that I defined on the spot: “when you search for Óláfr in the mountains, roll +versed…” and “when you seek forgiveness from Freyja, roll +wyrd…”

Bonds vs. relationships were a bit confusing to folks; I should have explained that better at the outset. Relationships are special stats that determine advancement, and also give you this special resource called bonds that you spend to make certain kinds of awesome happen. But once that came across, people drove action towards their relationships.

I asked lots of questions, tried to cast aside history panic where I saw it, and definitely ended up using some of Freyja’s Ceremonial Moves.

Almost every roll ended up in the 7-9 range. A couple were failures, but not many. Only one was a 10+, when Helga wrestled Óláfr. All of the difficult choices that arose from this drove things forward in the right way.

So, given that my Icelandic is nonexistent, I did try to have some fun with names. First, this is Súrfjörðr, “sour-fjord”, but also the very-similar-sounding Sýr (sow) is one of the names of Freyja, clearly the patron goddess of this area.

The farm Höfn’s name means “haven”, or “harbor”. Gullinn means “golden”. Mjaldaey means “Beluga Island” (as islands were a traditional site for hólmganga duels).

Skúmr, Helga’s dead father, has a particularly interesting name: it might mean “gossip” or it might mean “skua”. I foresee a challenge issued where someone speaks a verse that insults Helga as gossip-daughter (since she’s so manly, she does attract a lot of gossip), and she retorts that she is skua-daughter, a powerful predator.

In case anyone is interested, or wanted something readymade, here is the prep I did for the game I ran for Brand…

In case anyone is interested, or wanted something readymade, here is the prep I did for the game I ran for Brand…

In case anyone is interested, or wanted something readymade, here is the prep I did for the game I ran for Brand Robins this weekend.

PC: Olaf Grimmson, Grandson of Thor (Playbook: The Man) Coming to Iceland after years of being a-viking, contesting the rule of Swedish kings. To send for his wife (Solveig) and son as soon as he has enough set up to support them.

PC’s Family:

-Raghild: Matriarch (wise, tricky, true) Grandmother of PC. Raghild is as old as the land. While she wields considerable social power in the house, she is careful, deliberate and uses is sparingly. Thor was her favorite son, and she sees a lot of him in Olaf, she seems to favour him. Dramatic purpose: add pressure to the relationship between Hegg and Olaf, allowing new ways for both of them to negotiate and build social pressure. She may favour Olaf in her heart, but she lives with Hegg. Also, add dramatic tension and gender unbalance in Heggs household: Dalla should be the head of the household, but Raghild, Oddny and the girls split the power base a bit, allowing Hegg to be more powerful than he should in house matters.

 

-Dalla: Seidkona (observant, controlling, sadistic), second (much younger) wife to Hegg. Dramatic Purpose: Dalla represents women’s power in its veiled unnerving form (in superstitious Icelandic society). She should be both very magnetic and unnerving, and could become a possible powerful adversary or powerful ally to Olaf depending on the way the relationship develops. May also generate some sexual tension before Solveig arrives in Iceland, or jealousy afterwards.

 

-Hegg Thorsson: Godi (ambitious, opportunistic, self-serving) , uncle to PC. Hegg is truly opportunistic, last seen by Olaf when a-vikin and he left Olaf and others abandoned in Frankish lands as he sailed off with the gifts of plunder. Hegg’s family, both his and Matilde’s children and all of his grandchildren are girls. Dramatic purpose: Me against my brother, my brother and I against the world.

-Oddny: Shieldmaiden (focused, dutiful, lonely), sister to Matilde – Hegg’s deceased first wife. Dramatic purpose: Be the physical reminder of Matilde in the household, help split the power balance, act as both “free agent” and leaned in resource from both Hegg and Olaf’s households.

– Fastvi: Hegg’s eldest daughter by Matilde (insecure care-giving, close-minded). Dramatic purpose: Mother of all, adds weight and community support to Hegg and Varmod in opposition to Olaf’s potential claim on Hegg’s land, and to prop up hs honour, even when he does not deserve it.

– Varmod: Fastvi’s husband and father to her six daughters (abstract, hostile, insecure). Varmod has been working hard on Hegg’s land, and he remains on the farmstead as the husband of the eldest daughter. They have long expected to be the primary inheritors, but Olaf’s presence threatens that. Dramatic purpose: challenge Olaf, be unreasonable, represent the contrast between Icelandic concepts of masculinity and modern machismo.

-Drifa: Hegg’s middle daughter by Matilde (Competitive, opportunistic, Clever). Drifa is set up to like and be liked by Olaf. She has her father’s opportunistic streak, but she’s more strategic, more subtle, and playing longer term than Hegg has ever been capable of being. What she wants is to be determined contextually in play – it should be quasi but not fully orthogonal to Olaf’s own goals.

-Wary: Drifa’s husband and father of their three daughters (soft, compassionate, kind). Dramatic purpose: to contrast variations of masculinity and challeng ideas about honour. Wary has clean chi and a bi bright heart, but he doesn’t do status well, and doesn’t live up to the Icelandic ideals of manhood. Drifa is in clearly in control of this relationship, and Wary clearly loves her.

– Bolla: Hegg’s youngest daughter by Matilde (Curious, impetuous, adventure loving). Dramatic purpose: Bolla softens scenes and draws information out of Olaf. She asks questions that allow Olaf to tell his history, and make status plays with other members of the family.

-Toki the Giant: Huscarl (Loyal, organized, direct), warrior, foreman to a handful of farmhands.

-Morag: Thrall (ripe, sweet, creative, obedient) part of Dalla’s bride price Dramatic purpose: to be used as Dalla’s pawn to see what happens in Olaf’s house, and aid her in controlling/influencing his actions.

-Haim: Thrall (sneaky, hidden, powerful) possible magic user

 

Accused’s family:

 

-Bjarni Ormson: Accused of moving land markers to claim more of the most valuable property at the expense of his neighbours (Hegg and Njall, Hegg initiated this, but the spirits made the situation explode). Dramatic purpose: Remind Olaf enough of himself that he can see being in the situation, reveal the extent of Hegg’s ambition, raise the stakes to really provide a difficult opportunity for Olaf’s character to be revealed. Hold on, hold on.

Gudrid: Bjarni’s wife (formidable, brave, devoted). Dramatic purpose: Gudrid and her daughters are formidable in protection of Bjarni and the household. They will stand together in their protection.

– Hakon: Bjarni and Gudrid’s eldest son – 22 (proud, patient, protective)

– Runa: Bjarni and Gudrid’s eldest daughter – 17 (cautious, timid)

– Thora: Bjarni and Gudrid’s younger daughter – 14 (rebellious, protective)

-Isleif: Bjarni and Gudrid’s younger son – 10 (avenging, hotheaded, naive) Dramatic purpose: Perhaps be representative of Olaf’s own son, be a bullet of escalation or a pawn for negotiation, find out how Olaf views children and if he ill exempt them from violence.

-Einar: Bjarni’s brother (rash, vengeful, impatient) Dramatic purpose: be unreasonable, hidden and escalate, escalate, escalate.

– Gianna: Thrall

– Vali: Thrall

 

Njall’s Family: Not fleshed out that much.

Njall himself is a patriarch with many sons who personally liked Bjarni. His critical response to the boundary markers being moved wasn’t about the theft as much as the dishonour Bjarni did him: it was insulting to him that Bjarni would think he did not intimately know his land and would not notice, or would not contest the transgression.

 

Backstory:

 

To increase access to a rich iron bog that lay between their properties, Hegg commanded Toki to move the property markers. With Odin and Freya as fronts, and stone giants as spirit threats (roused by their own ages-old feud of territorial rights), Toki overreached and took the whole bog. Bjarni hesitated to openly accuse the Godi, and tried to move the markers back, but had less muscle power to move them so it took several days of work. In between days the stones were shattered (by the stone giants). Both Bjarni and Hegg/Toki interpreted this as an act of the other, and for fear of losing sanding, Hegg sent Toki to move the markers on Njall’s land to increase the appearance of Bjarni’s guilt. When Olaf arrives on the homestead, the judgement has already been passed, and Bjarni’s family will be forced off their lands, but have not yet left in defiance of the judgement – hoping to hold out until the Thing.

 

When Olaf appears on the scene, Hegg angles to offer him the lands, securing his newly drawn borders, increasing his blood’s power and presence, taking care of Bjarni’s defiance and (only in last place, but still on the list) because Olaf is blood.

 

Go.

 

Potential Scenes:

– Meeting the family

– Gift giving

– Offering land: Uncle Hegg making up for the past?

– Plenty of relational play of family on Olaf to establish blood ties and relationships

– Revealing the marker depressions and the shattered stone and the treachery

 

Stakes:

– Will Olaf secure the homestead he needs for his family?

– Will he murder an innocent family to get it?

– Will blood over-ride personal ethics?

– Will they be able to find a resolution before wide-scale destruction?

– Will he reveal Hegg’s trechery?

 

Fronts, Threats and Focus:

 

Odin & Freya: (focus on: ambition, secrets, great gifts, subverted gender roles)

 

– Hegg himself: Outlaws and Outcasts (act in seret, move in, steal, act without honour, bring misfortune). Countdown: Get Olaf to do the dirty work. Rally the community behind Olaf. Incite a violent mob. Throw Olaf under the bus.

– Bjarni’s family: Neighbours and Family (Act as one, dwindle and leave behind, contest ownership, seek vengeance, bring to court) Countdown: Yesterday: Lock down. Tomorrow: Hold the fort. When breached: Resort to vengeance and violent. If possible: bring it to the Thing and depose Hegg.

– Stone Giants: Land & Sea (Get in the way, throw up something, refuse to yield) Countdown: Feed and be fed by those that contest the land. Destroy the icons of land ownership. Destroy cultivation. Quake the earth.

– Dalla: Fates and Spirits (dreams and portents, haunt, employ tricks, make mischief, offer bargains, transgress)  Countdown: Entice Olaf’s support. Plant spies and magic in Olaf’s house. Distract Olaf from his core goals. Seduce him.

I also had also intended Oddny to be a front, and Haim too. But got sick of prepping, so never fleshed them out.

__

He did get the land, he did take it by force even though he believed Bjarni to be innocent, he did not murder the whole family, only those that left him no choice. He did not reveal Hegg’s treachery, and he was seduced by Dalla. 🙂 Whee!

Just kicking off my first SotI game. Any advice from those with experience?

Just kicking off my first SotI game. Any advice from those with experience?

Just kicking off my first SotI game. Any advice from those with experience?

I’m MCing for only one player, and we will adapt a bit of troupe style play to open the character base and play experience. Anyone have experience with that?

I played the goði in one of the one-shots Jason Morningstar ran at Origins, Arnar Firebeard.

I played the goði in one of the one-shots Jason Morningstar ran at Origins, Arnar Firebeard.

I played the goði in one of the one-shots Jason Morningstar ran at Origins, Arnar Firebeard. I imagined him as the Stringer Bell of the Icelandic Commonwealth: a man capable of terrible violence, trying to make it all just business. My family kept wanting to leap to treachery, deceit, and betrayal, but I cautioned them to keep those as back-up plans when all else failed. Well, when I walked into my daughter’s home to find my adopted son over the dead body of the son I was about to marry to a rival goði’s daughter, that’s about when all else failed. I came up with a plan to save my bacon with lies and treachery, which immediately blew up in my face.

It was a great game. Getting the PDF when I got home, I saw some of the changes between the version Jason had to run, and the final version. In particular, I keep thinking about how differently things might have gone for Arnar if considering an uneasy situation had been a move available to him. I almost certainly would have used that when I walked in on that scene, rather than going straight to the treachery that cost me everything. I probably would have asked “What is the most I can make out of this situation?” and “What is a honourable way out?”

It was a great game; I’m just reflecting on how these small changes could have had a really big impact on how it unfolded.

I’m running into some trouble just sharing Jason Morningstar’s post about how to run a one-shot, so I’m going to try…

I’m running into some trouble just sharing Jason Morningstar’s post about how to run a one-shot, so I’m going to try…

I’m running into some trouble just sharing Jason Morningstar‘s post about how to run a one-shot, so I’m going to try good ol’ copy-and-pasting. Everything below is from Jason Morningstar, not me.

I ran Sagas of the Icelanders (which probably needs its own community here) three times at Origins, and each time it went well.

My advice for convention one-shots:

* Start with a pre-defined relationship map. Be flexible, but keep it all in and around a single family with a Goði on top.

* Leave out the Man, Woman and Monster. Consider leaving out the Child and Thrall. These are all excellent playbooks but favor long-term or more passive play.

* Spend a minute – literally one minute – explaining the time and place, let them review their moves, and answer questions the moves prompt about Iceland in 900AD. Provide as much context and cultural advice as people want in play, but enthusiastically roll with stuff that comes up in play that is “incorrect”.

* Be easy about letting people switch moves as the fiction develops – if they picked one that won’t see use, just change it.

* The relationships and bonds they choose are what the session is about. Build a front centered on a big event that introduces new people. Make these new people a problem. I used a wedding in each of the three sessions I ran and that was perfect.

Here’s the relationship map and handout I used, which worked well. The players chose a playbook and placed themselves on the r-map (some roles, like Goði, don’t get a choice where to fit in). A wedding is implied, as is some malfeasance.

https://dl.dropboxusercontent.com/u/3441990/one-shot_handout_v3.pdf

https://dl.dropboxusercontent.com/u/3441990/one-shot_handout_v3.pdf