For example, let’s say your PCs go to a football game.

Or you could actually think of the god-fight as a spectator event. The agenda will instead involve the PCs reacting to the immediate chaos and destruction around them, probably answering variations of, “Can you survive?” or “Can you save that person/place/item?”) The agenda here would not be, “Will the earthquake destroy Los Angeles?” The answer to that question is beyond the PCs’ control. For example, the PCs are in Los Angeles and the Big One hits the San Andreas fault. Instead of focusing on the outcome of the god-fight, you need to figure out what the PCs’ agenda will be during the fight: What is it they’re trying to accomplish and what are the obstacles they’ll need to overcome to accomplish it?Īnother way to think about this would be to replace the god-fight with a similarly cataclysmic event. But, as you note, that agenda doesn’t mention the PCs at all and, therefore, prevents them from taking any meaningful action. Right now you’re setting the agenda of the scene as, “Will Pelor eat Sehanine’s heart?” That’s an understandable impulse because it’s clearly the biggest and coolest thing happening in that particular moment. My response to this is based on Part 2 of The Art of Pacing, and I thought it raised some specific points that might be of interest to others: However, if I just set the gods in a valley and describe what happens as they throw down, I feel like I am taking away my players agency. At the conclusion to this school year’s campaign, in order to pick up at the beginning of next semester, I want to have Pelor and Sehanine fight, with Pelor winning and eating Sehanine’s heart to become corrupted.

Titanic video game fighting