Now you know what makes for a good aspect, but that doesn’t narrow down your potential choices any—you still have a nearly infinite set of topics and ideas to choose from.
If you’re still stuck about what to choose, here are some tips to make things a little easier on you.
Sometimes, It’s Better Not to Choose
If you can’t think of an aspect that really grabs you and the other people at the table, you’re better off leaving that space blank, or just keeping whatever ideas you had scribbled in the margins. Sometimes it’s much easier to wait for your character to get into play before you figure out how you want to word a particular aspect.
So when in doubt, leave it blank. Maybe you have a general idea of the aspect but don’t know how to phrase it, or maybe you just have no idea. Don’t worry about it. There’s always room during the game to figure it out as you go.
The same thing is true if you have more than one idea that seems juicy, but they don’t work together and you don’t know which one to pick. Write them all down in the margins and see which one seems to really sing in play. Then fill the space in later, with the one that gets the most mileage.
Always Ask What Matters and Why
We said above that aspects tell you why something matters in the game and why we care about it. This is your primary compass and guide to choosing the best possible aspect. When in doubt, always ask: what do we really care about here, and why?
The events of the phases should help you figure out what your aspect should be. Don’t try to summarize the events of the phase or anything like that with your aspect—remember, the point is to reveal something important about the character. Again, ask yourself what really matters about the phase:
- What was the outcome? Is that important?
- Did the character develop any important relationships or connections during this phase?
- Does the phase help establish anything important about the character’s personality or beliefs?
- Did the phase give the character a reputation?
- Did the phase create a problem for the character in the game world?
Assume that each question ends with “for good or ill”—these features, relationships, and reputations aren’t necessarily going to be positive, after all. Developing a relationship with a nemesis is as juicy as developing one with your best friend.
If there’s more than one option, poll the other players and GM to see what they find interesting. Remember, you should all be helping each other out—the game works best if everyone’s a fan of what everyone else is doing.
During Cynere’s phase three, Lily states that she complicated Zird’s story by showing up at an opportune moment and stealing the artifact that Zird stole from his rivals. Eventually the artifact returns to Zird’s hands.
She’s trying to tease out what the best aspect would be, and she doesn’t have a whole lot of information to go on. Going through the questions above, we see a lot of potential options—she showed off her underhandedness, she definitely suggested a relationship with Zird of some kind, and Zird’s rivals might now have a beef with her as well.
Lily polls the rest of the group, and after some talking, everyone seems to be pretty enthused about Cynere having some kind of aspected connection to Zird—they did all grow up in the same village, after all. She decides on I’ve Got Zird’s Back, because it’s specific enough to be invoked and compelled, but leaves room for development later on in the game.
Vary It Up
You don’t want all your aspects to describe the same kind of thing. Five relationships means that you can’t use your aspects unless one of them is in play, but five personality traits means that you have no connection to the game world. If you’re stuck on what to pick for an aspect, looking at what kinds of things your other aspects describe may help you figure out which way to go for the current phase.
Lenny ends up with Disciple of the Ivory Shroud and The Manners of a Goat as Landon’s high concept and trouble. So far, this is a pretty straightforward character—a violent type whose mouth and demeanor are always getting him into trouble.
Lenny does his phase one and explains to us that Landon was a miscreant and street rat that grew up practically as an orphan—his parents were around, but never really paid too much attention to him or spent effort reining him in. He eventually decided to enlist in the town militia after someone saved him from a clobbering in a bar fight and suggested he do something worthwhile with his life.
Amanda asks him what really matters about this phase, and Lenny ponders a bit. Landon’s first two aspects are heavy on personal description—he doesn’t have a lot of relationships yet. So Lenny focuses on that and decides he wants a connection to the guy who pulled him into the militia.
They end up naming that guy Old Finn, Landon ends up with the aspect I Owe Old Finn Everything, and Amanda now has a new NPC to play with.
Let Your Friends Decide
We’ve talked before about the fact that the game works best if everyone is invested in what everyone else is doing—collaboration is at the heart of the game, and we’ll probably say it a lot more times before the end of this book.
You always have the option, especially with aspects, of simply asking the GM and other players to come up with something on your behalf. Pitch them the events of the phase, and ask them the same questions they’re going to be asking of you. What matters to them? What are they excited about? Do they have suggestions about how to make the events of the phase more dramatic or intense? What aspect do they think would be most interesting or appropriate?
You have the final decision as to what your character’s aspects are, so don’t look at it as giving up control. Look at it as asking your ever-important fan club and audience what they want to see, and using their suggestions to jumpstart your own train of thought. If everyone has a bit of input on everyone else’s characters, the game will benefit from that sense of mutual investment.