Another year, another completed long-form campaign.
Last year, one of my player groups wrapped our eleven-year-long Dungeons & Dragons campaign. Last week, we wrapped our seven-year-long Unknown Armies campaign. As always, you can read the entire thing over at Obsidian Portal.
After Crux of Eternity and The Imperial City, it comes in third in terms of number of years. Probably in the number of hours, as well: I would estimate maybe 300 hours, but who can say?
It started humbly, as a playtest of the yet-unpublished third edition. (You'll note there that I call it a mini-campaign, not yet aware that it was going to last over seven years.) We largely stuck to the collaborative setting generation, but as with Crux of Eternity, I started with a handful of inspirations which were woven into the structure as appropriate:
- There's a rumor in the second edition core rulebook about Jim Morrison still being alive.
- Being well-acquainted with the old rumors that he faked his own death, I decided a long time ago that he was probably The True King of Los Angeles.
- I read volume one and volume two of the collected Suppressed Transmission by Ken Hite.
- Specifically, there was an article about Misrule that got the wheels turning in my head about an avatar of The True King symbolically being deposed in favor of an avatar of The Fool.
- Years ago, I wrote some notes about a potential game set in Las Vegas, featuring an apocalyptic cult leader in the mold of Tyler Durden from Fight Club.
- I realized this was an opportunity to tell his backstory, since I knew he was an annihilomancer who got a major charge at some point.
These elements combined to form the basic setup. While the players just knew that Hollywood producer Jasper Fitzroy was acting a little strange of late, the truth is that he was an unconscious avatar of The True King, baptized as a child to be the king of film actors by none other than MGM executive Nick Schenck, attempting to make the ultimate movie star. Magickal shenanigans prevented it from working as planned, but Fitzroy was destined to step into a kingly role no matter where he found himself, so he became a royal movie producer instead of an actor.
However, Jim Morrison, The True King of Los Angeles, never wanted the job, but he also didn't want it to go to someone who might abuse the station. And he certainly didn't think a movie producer could avoid the temptations of a powerful occult position, so he tried to think of a way to rid himself of this rival king without killing him or informing him of the existence of magick.
The answer came in the form of Iggy Williams, an annihilomancer who left Los Angeles in the early 1990s but came back in the late-2000s. Jim Morrison recognized him, but knew that he didn't want him in town, either, so he hatched a plan to rid himself of both simultaneously by convincing Williams to get two major charges by leaving town and convincing Fitzroy to leave as well. This seemed like a pretty hard sell until Fitzroy's wife died, in which case it became easier to insert new people into his life during the upheaval. And that's the very unlikely set of circumstances by which Iggy Williams became Jasper Fitzroy's personal assistant.
Since Iggy Williams had never harvested a major charge before, he didn't know how much symbolic power he needed, so it was his idea to invoke the whole Misrule thing, introducing Fitzroy to an unconscious avatar of The Fool named Pamela Kruse and then slowly making it look like his predecessor cooked the books and Fitzroy would take the blame — but he could save the rest of his family by fleeing to a foreign country.
A convoluted and tenuous plot, but a symbolically resonant one.
Unfortunately, the player characters didn't unravel the plot in time, so Iggy Williams convinced Jasper Fitzroy to flee Los Angeles and put Pam Kruse in charge of his affairs. However, that misfortune kicked off the rest of the game's plot as the characters found themselves tangled in the local occult underground. (And I suspect that failure turned a short campaign into a long one, as they sought to unravel many mysteries and bring order to the city's chaos.)
The Obligatory After-Action Report
While I have run a lot of urban fantasy and horror games previous to this one, this was my first time running Unknown Armies for more than a couple of sessions, and specifically my first time running third edition.
Many of my complaints about the system remain despite the fact that it's a pretty good system, albeit one that feels more like an assemblage of parts than a cohesive whole.
It's a very sandbox-y game, which suits my style, but I think that player-driven goals can sometimes leave the players adrift, especially because of a pattern I've noticed across a couple of games. Having now run two Unknown Armies campaigns, I like to make them grounded and realistic, and the players instantly respond to this. They make backstories, introducing friends and family members and connecting with NPCs. But this also serves to make them play the game very conservatively, as they suddenly have jobs and loved ones they can lose. As such, nobody plays the sort of ruthless obsessives that Unknown Armies seems to really encourage, especially in previous editions, and that means that they approach Objectives with a lot trepidation and very little mayhem. And that limits their options.
Note that this isn't bad — more player buy-in versus more player mayhem is a choice rather than a value judgment — but it does make the Objective process take a long time as players try to determine the safest way to handle a problem. (The recurring joke during this campaign was that we were actually playing a Camarilla campaign, given all the careful politicking.)
I also suspect that has something to do with relative power levels: both of my long-running Unknown Armies campaigns have begun more-or-less at street level. Sure, the characters might start with funky powers and weird experiences, but they don't know that there's an occult subculture out there, and they certainly don't know about things like the Statosphere or Invisible Clergy. And when you're new to the occult community, all you have is the stuff you brought with you: your career, your family, your friends.
Obviously, you don't want to lose that stuff.
But there is something very magical about a slow-burn occult campaign where you see the players go from clueless newbies staggering in the shadows of giants to people who feel comfortable solving their problems with ritual actions and weird artifacts. It's telling that we started the campaign with the player characters trying to unravel the mystery of a film producer's sudden shift in mood, and we ended with a ritual arson designed to assassinate a powerful wizard.
As for "the plot," as befits a sandbox, the campaign ranged all over the place. The campaign lasted long enough for the players to plumb most of the mysteries I plotted at the start, although as one might expect, each question yields half a dozen others. By the end of it, they are movers and shakers, having cut deals and installed their own True King as the symbolic monarch of Los Angeles, so the repercussions of this game will likely reverberate into any future Unknown Armies games I run. (Especially as the charitable foundation they created moves into other cities.)
This was also probably the most romance-heavy game I've run: everybody had some manner of romantic relationship, often forged in the fires of the secret wars of the Los Angeles occult underground. (And some characters had several romances during the game!) As noted in the Crux of Eternity after-action report, I always find that funny as I don't plan romantic subplots, but it often appears in my games, so the players clearly trust the process.
Final Thoughts
As is usually the case, I'm running another campaign on Sunday, so I don't have time to mourn the passing of this one. It always feels a little weird to end things, but there are always more stories to tell, and time marches ever oneward.
Nevertheless, I expect I will continue to think about it for some time, wondering what might happen next in that city of tiny lights by the sea...