So you know how video game designers who blog tend to have blogs that go dark suddenly and for extensive periods when their game is about to come out? Yeah, sorry about that. It’s been a pretty attention-distracting year. But I come out of it with a bunch of new games played and media consumed that should hopefully serve as posting fodder for a while. And if you don’t notice the year tick up mysteriously on the side, going back through the archives it might only look like I missed two weeks! I’ll try to keep posting weekly, but until I get a big buffer built up I’ll play it by ear, such that missing a week won’t necessarily be a precursor to another long hiatus.
This week starts a companion series to Serial Numbers Filed Off. Instead of coming up with a setting/genre shift but keeping the plot structure intact (as with SNFO), these will be more about highlighting media that you might not have seen that I think contains a premise that is readily translated to a campaign of your own, whether or not you keep any of the plot structure. Each of these may contain mild spoilers for the media property in question, but I’ll try to keep it to only what you learn in the first episode and/or from the promotional material unless there’s something really key to making the premise into a game that isn’t obvious until later.
The Elevator Pitch
Axl Johnson is just your average Kiwi college kid about to turn 21, the youngest of four brothers. After an ominous series of events strike Auckland on the evening before his birthday, his brothers take him out to the woods to clue him in to the family secret: the Norse gods traveled to New Zealand centuries ago as their powers started to wane and Scandinavia was no longer safe for them, they died but their mantle passed on to individuals within the family tree, and when one of those individuals turns 21, he or she comes into a godly identity and (much diminished) powers. His brothers are actually Ullr, god of games (with the ability to win any game of chance every time, and to track unerringly), Bragi, god of poetry (who can convince any mortal of pretty much anything, if given enough time to speak), and Hodr, god of the dark and cold (who hates his power to manifest and resist cold, because of the crimp it puts in his love life). His “Cousin” is actually the brothers’ grandfather, whose powers as Baldr mean he doesn’t age. And who is Axl? He is Odin, and his reappearance means the beginning of a quest to find the new incarnation of Frigg. If Odin and Frigg are reunited, the much-weakened powers of the gods will be restored, but if he dies before completing the quest, a calamity will befall New Zealand, likely killing all the currently incarnated gods.
And there’s a secretive cabal doing everything they can to prevent this from coming to pass and the gods’ powers from being restored. No pressure.
(The show is currently available for streaming on Netflix.)
The specifics of the pantheon in question, the location, the nature of the quest and antagonists, and how things got to how they are now are fully up to the group’s own interests. But the operative premise is simple: you are thrust into being a modern incarnation of a god with a small suite of abilities based on your former portfolio. They’re enough to give you a sizable advantage over mortals, but not enough to really be what most would consider “godlike.” So you’re still going to have to work at achieving your objectives. And these diminished powers come with a whole list of godly responsibilities and enemies that are very likely to fall upon you at the worst possible moments.
This is probably best handled with a game engine where PCs are expected to be threatened by the mundane (i.e., something not level based or too high-action pulpy). The Storyteller system, Unknown Armies, Unisystem, BRP, or Savage Worlds are probably good choices for modern games, and A Song of Ice and Fire, Pendragon, The One Ring, or even Ars Magica might be good choices if you want to go fantasy. The godly powers work less like superpowers than like a mechanic where you automatically succeed at certain things if uncontested, and gain a substantial (but not insurmountable) bonus in a contest. The trick during gameplay is to figure out how to move seemingly insurmountable problems into a realm where your portfolio lets you win: when all you have is a hammer…
There are a number of games that have tackled the idea of modern gods, either specifically like Nobilis or Scion or indirectly like Aberrant, Godlike, and really any supers system. But those generally focus on giving you a whole raft of powers that quickly boost you above mundane problems. The Almighty Johnsons suggests a potentially new avenue where getting to that level of power is actually the central goal of the game: most of the gameplay focuses on using the remnants of your godly heritage to try to bring about a transcendence into greater power.
As a mythology wonk, it also provides a fun ability to recontextualize the pantheistic religion of your choice into a new setting, translating the characters and drama of myths and epics into a game where characters relate as individuals but also as gods. American Gods is also a good inspiration for this kind of thing.