For Everything a Season: Act Breaks in Campaign Games

One thing I love about serialized storytelling, in terms of television, comic books, movie franchises, etc., is the existence of story structure.  Many of the works that I love have very evident shifts between parts of the story.  The different 'big bads' of Buffy the Vampire Slayer, the shifting politics of Babylon 5's seasons, the changing teams and locations in Claremont's X-Men comics, even the different 'phases' of the Marvel Cinematic Universe, all of these break the story into phases that can be understand as part of a whole, but also take different tones and perspectives.

This method of storytelling can be used to great effect in campaign games, both LARP and tabletop.  But for an art form that tends in form to simply continue on a regular schedule, an Act Break may require extra effort or planning and definitely raises some important questions to address in terms of game philosophy and practice.

What is the point of (meta)plot?

Of course, Act Breaks assume the existence of an overarching landscape of plot.  Because if there isn't anything happening on a larger or direct level in the world outside of the characters actions, then strictly speaking, there isn't anything to change between Acts.  So if there isn't a metaplot, then there isn't a need for act breaks.
While I've addressed this in another post on this blog, here's a brief version that is relevant to this topic.  Metaplot is a genre-appropriate developing landscape that provides context for the choices characters make.  By my philosophy of game design, the most important thing for the Storyteller to do is frame decision points for character, essentially asking story questions that give players agency to change the world around them.  So in part, plot is about laying out crossroads so that players can choose their paths(or to wander off the path, a relevant possibility).
Beyond just framing choices, metaplot is about escalating the stakes of the story to match character development and power.  As character relationships deepen, as character power levels increase, as easy decisions play out, characters need new choices that match their current position in the story.  This isn't just about going from kobolds to dragons, but about matters of increasing consequence.
So metaplot should be this genre-appropriate developing(as in, the developments should flow from one another according to the overall genre) landscape that provides context for the choices that characters make.  And by splitting into Acts, that becomes somewhat easier.

Why have Act Breaks in game?

An Act Break is an opportunity.  An opportunity to end specific plot threads and introduce new ones, an opportunity to create entry and exit points for players and characters, a chance to tinker with underlying aspects like tone and theme.

The end of the Act should almost always correspond with the conclusion of one plot thread.  This plot thread may be loose or tight, but should encompass some of the overall theme and tones of the Act.  As things wrap up, it can be easy to create a climactic moment of confrontation and escalate drama to encourage player energy.  When players see that  choices affect the way things conclude, they can see ways of getting engaged down the line.

The end of one act and the beginning of another can be a great set of entry and exit points for players and characters.  New players often struggle with finding ways into ongoing games and the shifting context of an Act Break can often give an opportunity for new characters that have a good reason to be arriving in the game context.  It can also give an opportunity to wrap up character stories or to write out characters that may have drifted away from game.

An Act Break can also convey a shift in tone.  There are excellent examples of stories shifting genres or focuses between acts and seasons in a way that expands the understanding of the world and gives new perspectives.  The Wire shifted the focus of its investigations and focus to highlight different types of dysfunction and change the tone of individual seasons.  Other texts drop sudden revelations at Act Breaks that change the interpretation of things that came before and after.

How to Do an Act Break

So, that's why, but if you wanted to do an Act Break, how would you go about it?  I have a few guidelines about Act Breaks that I tend to follow in game design.

1. Telegraph the act break.
Don't spring an act break on players.  While I tend to have heavily structured games with every session planned out, it is possible to do a looser Act/Season structure, but the ending should never be a surprise to players.  You don't have to tell them what is happening that will change the world, but let them know that things are coming to a head so they can make decisions accordingly.  Players will take greater risks at Act Breaks if they know it's coming.

2. Have something end
It sounds simplistic, but have something really end at the end of an Act.  Certain things will be done at the end of the Act in a way that they won't return.  If nothing actually ends, it can be easy to lose the stakes of the Act Break.

3. Have some things stay
Don't throw out everything, though.  There should be some connective tissue between the Acts/Seasons.  It's more like a hinge than like two separate objects.  That connective tissue is important to keep some momentum.

4. Shift the context seriously
It should be possible by looking at it to know what Act you're in.  This can be based on the physical locations, the common adversaries, or some other aspect of the context, but there should be something marked between Acts.  In the long Changeling game I ran, you could tell what act it was based on whether there was a mirror city in the sky above Chicago.  I even had five different logos for the different acts.

5. Introduce something new
As important as ending something at the end of an Act is beginning something new with the new Act.  There should be new momentum at the start of the new context to propel people forward into the brave new world.

Pacing and Game Structure tips and questions

Beyond these guidelines, there are a few important questions to ask as part of the process.

How long should an act be?

It depends a bit on the game, but there are a few guidelines.  An Act should be short enough to be comprehensible and easily remembered.  Acts or seasons that take place over a year are hard for participants to really understand as a whole, to really see how the beginning connects to the end.  However, an Act should also be long enough to display visible themes.  My rule of thumb is 4-6 months.  

Should there be a time gap between acts?

If there is going to be a time gap between game sessions, then a time gap between acts makes sense.  Even if not, if you're trying for a larger thematic shift, a time gap may allow a more dynamic change between two Acts.  

Should all act breaks be similar?

No, for instance, as you are coming to the end of a chronicle, I would hesitate to add new players at an Act Break.

What's the border between sequels or Act Breaks?

There is no hard and fast rule.  If the break is longer than the game ran, it's definitely a sequel.  If there's a distinct player base, it's definitely a sequel.  Otherwise, call it as you see it.