Did you see that?

What do I see/hear/find?

A very common question in gaming.  Whether the player is trying to discover something, or the ref needs to know how much their characters are aware of, this mechanic is probably the second most used mechanic in just about any RPG, (the first of course are combat rolls.)  But how should it work?  If a player makes a roll, and it come up poorly, the character is unaware of whatever it is, but is the character?  If it is very successful, should they always find the well hidden murder weapon?  Should a ref roll it secretly and just tell the players what their characters see/hear/taste…

In the last post, we talked about drama and conflict.  This mechanic seems to work against that.  I have heard of refs that have everyone roll several Perceptions/Notice checks before game starts, and he then uses these as the players rolls as things come up.  I have seen referees use notice checks simply to create tension, allowing them to roll and tell them that they have determined nothing to be going on, or if they fail, then lead them astray.  I have also seen Refs create, or games with, a passive perception mechanic that will inform what the character espies even without searching.  Of course, any application of the perception mechanic must be played without Player Knowledge, only using the Characters Knowledge in-game.  So, lets talk about its use.  Does it take a player out of “immersion” to roll and fail?  Does it lead to meta-gaming no matter the result?

As far as immersion or meta-game, I don’t see its use as anymore than any other dice roll.  The player knows there is a randomization mechanic that informs the characters play.  So, a perception roll is no different from a Shoot M-16 roll, in that respect.  But the simple fact that the ref called for a perception check informs something about the situation, doesn’t it?  By telling the players which ones are allowed a perception and which ones aren’t may as well.  So, why doesn’t the ref always roll the checks for all the players?  Well, doesn’t that interfere with the players choice?  What if they wanted to roll different dice?  What if there is a re-roll mechanic?  How does that work, when the ref rolls, or for that matter, when the players all roll a set of Pre-perception checks?  What about when this check is being used to solve a mystery and look for clues?  Does the roll presuppose that the character has checked everything they can thing of?  What about when the player thinks of someplace/thing that the ref did not?  Can they force a re-roll because they are checking under the carpet beneath the desk?

Let me make some suggestions based on how this mechanic might be used.  Sometimes it might be a simple opposition mechanic; one character hides with whatever bonuses and penalties due, and the other person tries to find them.  Perhaps it is a simple “My roll is better, so I win this!” system.  But what if they both roll horribly?  One tries to hide by rolling around in a pile of leaves, but the other looks around by seeing why the dead trees are rustling.  Obviously they both failed?  Does success, in this case go to the one who failed the least?  Fortunately, this particular mechanic is usually well covered in whatever rule set you are using, so we don’t really need to break it down anymore.  What about the ref calling for a notice as people walk into a bar?  Well, this question, like in previous discussions, is Why?  Is the intent just to notice some particular detail?  Is the detail important to the ongoing story, or just add color or flavor?  If it’s not important, leave it out, unless someone asks about it.  If it’s important, is it important like they game stalls if they don’t see it?  Let them see it!  OR, have an in-play trigger that will allow them to find it.  “We know that our contact reported that he saw a bloody hand print on a Vase in here, last night, so I am looking at each of the visible vases, as well as in them to see what I see,”  AHA!  A knife…a very particular knife is found in one of the vases by the stairs…

What about treating the players as the omniscient audience?  Let them know what is coming up, with the realization that if the dice fail them, the characters will suffer the consequences!  This is a decent technique that could be used in a system with a re-roll mechanic.  The player can make a meta-game decision, based on the Meta-mechanic of dice and rerolls!  Is the fact of not noting what ever it is worth the resource to either automatically notice or the chance of still failing to note, depending on the mechanic.  RefMentor!!!  You can’t tell the players about an ambush!  It ruins the character involvement!  I hear your plea’s on this, and it took me a long while to wrap my head around the concept.  So, let me provide an example from a system that you know I love; Savage worlds:  The players have been tracking down a mobster, but have failed a number of streetwise tests, so now the mobster is aware that they are on his trail.  So, he sets up an ambush outside of one of the players house.  A car full of 6 guys with Tommy-guns.  The players return from an evening of revelry, which the mobster knew they were at, and upon arriving at home, they are given a notice roll, but with them slightly tipsy, and the darkness, and the nondescript car, none of them pass, so they fail to notice and the thugs open up full auto, given them about no chance of survival.  They have benny’s to re-roll, but maybe I am just going to tell them that the neighbors cat is out again, so they may forego spending the last of this resource.  But if they are told, when you arrive at home, there is an ambush by 6 thugs armed with sub-machine guns.  If you fail to notice, they will open up with surprise and other bonuses.  If you notice them, then they lose surprise…Now they know the value of expending that resource!  Keep in mind that this is no different than any other Player vs Character knowledge situation.  And like any of these other situations, like knowing a target number to roll, or the identity of the masked man…The Players AND the Ref need to make certain that this meta-knowledge is not used!

Perception checks are sometimes used to give a player additional information about something.  For instance, everyone sees there is mud on the step just outside where the man was killed.  But a notice will provide more information, depending on how good their result was.  So, what can they learn from this mud.  Maybe a shoe size or type, maybe it is unique to a specific location nearby or maybe something about the gait can be seen.  So the ref might assign value levels; a good success can determine the shoe size, and excellent success will determine the mud comes from a nearby coal mine, and a truly outstanding success shows that the prints were made by a person with a noticeably shorter leg, or perhaps club foot!  This is a pretty good system if you are not short-changing the person who took local soil as a skill!

As I stated in the beginning, this is a mechanic that is much over used, to the point that very few characters will forgo some expertise in it.  However, this discussion has granted a few problems with this over use.  What is the fix?  Simple!  Make the roll count!  Like so many of the rolls that players make it should make a difference.  If they have the time to examine things in detail, give them whatever information is available.  Decide if there is complimentary, but not required, information that might be discovered with a roll.  If the roll is failed, the players and their characters still have a way forward, but it won’t be as easy as it could have been.  If the information is required for them to go forward, give it to them.  But if you wish to, make a failed roll get them into other trouble rather than not finding the required information.  Perhaps, just as they find it, a trio of guards walks by and challenges them to put their hands up and back away from the safe, or the failure triggers a cohort getting the information back to the bad guy that the characters now have it!  Or perhaps they only got a copy of the front side of the headpiece, rather than both so that when they start their dig, they are in the wrong place (of course, you will need to come up with a way to get them back to the right place…probably just as their food is running out!  Don’t make a notice/perception/hearing roll result in them noticing that the fire is going out…unless there is no reason it should!  But, as in the last example above, don’t use a notice in place of another, more appropriate skill.  If your game does not have myriad skills, a perception check might always be the best way to find out information that is hidden.  But if you have many skills at your disposal, use the perception, with these presented caveats, and whatever analysis skills to determine their import!

Now, credit where credit is due:  The whole idea of giving the players the information that their characters don’t know for the purpose of the meta-mechanic is not my idea.  I first heard it on the Savage Worlds GM podcast.  Check them out, if you are playing or interested in playing Savage Worlds!

RefMentor wishing you only better games!

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Help a fella out!

I know there are a few people that read these posts occasionally.  While you are reviewing them, if you have suggestions for tags that aren’t there, or categories they might fit, let me know.  Also, again, if you have any questions or comments, let me know.  Even my older posts!  I love to engage folks on these points!

 

This way, I get to know that somebody is looking, and I can try to improve what these are meant to be…Mentorship for Role Play Game Game Masters, no matter their experience level or game system!

 

GM Mentor!

NOT the Big Easy!

Conflict creates drama.  Drama comes from the uncertainty of an outcome.  We, as role players, use drama , hence conflict, to create adventures.  In this post, I am going to discuss a notable difference in the way I play epic and episodic.  What you and your table expect from a game is often defined by how much and what type of drama you are looking for.

Before getting into anything else, lets talk drama and conflict.  Conflict occurs in game when two or more people, in this case PCs and NPCs, desire a specific outcome and not all parties want or expect the same, or even similar outcomes.  Drama is created when an outcome of an event is uncertain.  Therefore, when Player Characters are at odds with Non-player Character, other PCs, or even the environment, we engage the game mechanics to determine the outcome of the event.  The most obvious is out-right combat.  This is the sort of conflict that most people think of first when thinking of RPG conflict.  It is also the most detailed system in almost all RPG mechanics.  But, Lets say a PC needs to get documents out of the safe of an NPC.  The NPC is personally unreachable or undefeatable by said PC.  We now have a conflict, that can’t be directly solved with combat.  While it is possible that the PC may hire a group of mercenaries/thugs/bravos/etc to beat the combo, or even the actual document from this NPC, that combat is probably “off screen,” and said PC may or may not have solved the problem, but will not know until the hirelings report back.  So the drama here is not the combat, but the outcome which is unknown for a period of time.  But what if the PC wants to break into the place where the safe is, crack the safe and thereby obtain the document.  Here, the conflict is with the environment; how obvious does the PC want to be?  How tough is the safe, either physically or the combination?  The drama here comes from the stealth of the PC, the chance of getting caught, what do they know about the safe, can they successfully crack the safe either by manipulation or brute force?  Can they get away without being tied to the act, or does it matter?  Game mechanics here are skill resolution types.  While some games make any failed roll the only outcome, others allow re-attempts, either with penalties to skill or time.  (I usually allow re-rolls, with the penalty increasing each time.  To me this reflects that you have already worked to the best of your skill, and are now hoping for a bit of luck, that becomes more frustrating the more times it is tried.)  Finally, what if they want to con, or sweet talk the NPC out of the documents?  Now we face a social conflict.  Some games, particularly the more modern of them, have a social mechanic that can make the give and take of wordplay as exciting as the cut and thrust of sword and axe.   All of these are ways to resolve conflict, and the drama comes from not knowing the outcome.  Some systems may resolve some or all of these on a simple dice roll, while others may take a great deal of real time to resolve.

Having defined conflict and drama, let me talk about Epic vs Episodic (and my own Epic-sodic).  In general, Episodic games are divided into scenes, or acts that each have a major conflict that needs resolved.  Once the conflict for that part of the arc is dealt with, often the minutia of getting to the next conflict, such as travel, or information gathering (Which can be a conflict on its own), or even simple resupply is pretty much handled by a few moments of discussion and hand -waving.

For Instance: “OK.  You have beaten these henchmen and discovered where the lair is.  As you don’t want to give Dr. Q any warning, you head pretty much directly to the lair.  Since you need to go across town, you can run a few simple errands.  Does anybody need to buy anything or restock?  OK.   Now, you are arriving at the lair of the Villainous Dr. Q…”

In Epic games, I often play out even the non-dramatic events, such as day to day life.  The idea here is that the player , and therefore the character, becomes familiar with the mundane life as well as the exciting parts.  While this makes story arcs last much longer, it does tend to make it easier for the players and their characters to relate to the disruption caused by the adventures, and/or care more for the people placed in harms way.  This is where i use the the idea of “Random Encounters” or  “Wandering Monsters.”  It is not just to add conflict where none needs to be, but to make it seem like everyday life and travel could be interrupted by these horrible dangers at any time.  The attack by orcs may not be related to the rampaging ogres that you are tracking…but perhaps it is?!?!?!  In Epic style like this, the story arc is not the only thing.  The idea is to highlight the dramatic by contrasting it to the more mundane.

In my Epic-sodic, most dangerous conflict, that could kill a PC or leave them in a significantly worse way, are part of the story arcs.  Random combat encounters almost never occur.  If they do, they are they to advance the plot, usually by providing a clue.  This allows a bit of the mundane to be contrasted well with the primary dramatic, story advancing, scenes.

Conflict is not the only way to introduce drama, but it is often the easiest.  Other parts of a game can be presented dramatically as well.  For instance, resource management can provide a dramatic element; Will i have enough  bullets to deal with these zombies? What about the very core of the game; You are down to the last three cans of food, one of which has lost its paper wrapper, and has a slight bulge in it’s side.  Sounds like time for some foraging!  And in a game with a lot of good role play, drama can come just from character or NPC interaction scenes.

(What about the dreaded “Notice/Search/Perception/Awareness check?”  (Although, this is the core of an upcoming post) This can lead to drama.  What did I see…or worse…What did I FAIL to see?  This can definitely lead to a dramatic moment if you believe that you may have missed a poison trap and your character is about to die!  But what if it was to notice the man in the rumpled coat?  Is he there because you should take note of him?  Have you seen him before?  Or is he there just for game color?  This bit of drama can be fun, but note that this is fun for the PLAYER, not necessarily the CHARACTER.  The character doesn’t know they just failed a perception check.  But what if they are searching for a clue in a murder case?  If they fail the roll, does the killer get away, game over…)

When considering drama in your game, consider conflict in all of its many guises.  Consider the tone of your game. Consider what your players like and how your table plays.  Drama does not always equal Conflict.  Conflict does not always mean Hack and Slash.  But, conflict is dramatic!  Be aware of the impact it has on your game, and where you are going, and look at drama as a something to happen at every game, even if no one slaps leather!

((Sorry for the long delay…Again, my hope is to have one about every month!  Fingers crossed!))

The play is the thing

Over the last two weeks, we have talked about getting set up for a game.  This will cover the final prep and give a brief overview of things to expect during that game.  Once you have an adventure idea, and characters to experience and or carry it out, you need to get to the real meat of Role Playing games: The Playing!

to get started, we need to consider game set-up.  This may be something you have already came up with based on the game system and or the setting you use.  Or, it could be something that you haven’t given much thought.  What do you NEED to play your game, and what do you WANT to play your game?  Need is usually pretty similar from game to game: something to write with, dice, maybe tokens or counters.  Some games have fairly specific needs, like Savage Worlds need some sort of bennie tokens as well as a card deck.  However, the environment you are playing may have other needs…playing online, you will likely not need dice or writing implements as your on-line environment may provide those for you.  A far as what you want, well…consider maps, or 3-D terrain pieces and miniatures, effect templates, candles or mood lights, music or sound effects, incense or scented candles!  Anything that may add to the enjoyment of your game, or make it easier to play.  Again, in some game systems, you may find that a want in one game is a requirement in another and vice-versa.  (Do table snax count as a need or want?  Might depend on your table contract!)

When considering this, think about what might add to the immersion, or connection with the games.  Do you want theme dice?  What about token that reflect the setting or the mood?  If your game is set in the bootlegging 20’s, could you get a soundtrack from the times and keep it as background mood setting?  Some games lend themselves to “theme-ing” better than others, but you can probably find little things to do for any game.  BUT:

  • DON’T forget your NEEDS when setting up your wants!  If you get all of the terrain and miniatures you want to use, but forget dice…this might be a fail!

All of this could be several posts long, just talking about how and where to find the right music or sound effects, or what makes the best maps and so on, but really this section is here just to remind you of the basics of setting up the game.  Once you are comfortable with the game set , You are ready to “Roll some Dice, and Move some Mice!” (I know many of you are too young for that reference, but just accept that it means get started!)

When running a game, you can encounter a great number of issues and challenges.  Most of this blog is about how to deal with various iteration of those.  But this post will address some specific issues and resolutions.  If I can relate it close enough to another post, I’ll link it as well.  Rest assured that no matter what you have seen before, and what I’m about to show you, the real answer to any game issue is:

TALK WITH YOUR PLAYERS

As we start lets recap just a bit:  You have taken time to somewhat (or more) connect your characters to your adventure.  You have spent either a small amount to a great amount of time setting up your “script”  So, the first idea I want to convey to you is Murphy’s Law of Game Mastering: Expect nothing to go as planned!.  The best battle plans do not survive contact with the enemy, and your plot is not much different.  In an RP adventure, you control the world, the antagonist and his resources, but the protagonists, (the players). really tell where your story goes and how it gets there.  You can influence that.  Subtly, you can lay out clues like breadcrumbs, hints from NPCs, omens or the stray bit of overheard conversation.  Or you can go to the other end, and have the PCs employer tell them what they need to do, or even the outside game GM discussion.  Remember that this is not always bad.  Sometimes the players are on a completely different wavelength than you and you need to go outside of the game to bring everybody back to the plot.  This, oddly enough is why you did the prep you did.  When things go sideways, you can look at the story, and see if your plot can be salvaged by changing some things.  The benefit of the minimalist set-up, is you then just have to have the Antagonist respond, using its motivations and resources to still reach its’ goal.  If you and your players are alright in a campaign where the enemy has gone (mostly) completely unnoticed, even though your tried to lead them to his machinations, and she succeeds to the detriment of what the players wanted, then bully for you!   If this was just a short adventure, the players come as close to failure as you can in an RPG.  If you and your players are not happy with that, then either bludgeon them over the head with the clue haddock, and show them the path (yes this may be simply a side comment that they missed something)  Either way, if this is just a part of a longer story, or even a campaign, well, now the Baddie has a brand new asset, or assets at his disposal! (Whats that, he just took over the world?  Then your players are in for a hard fight!)

Adventure? Check! Characters? Check! Set-up? Check!  How do you start the game?  This is as much personal choice as the theme of your game. For many games, a great way to start is in medias res (“in the middle of things”). This is the technique of starting, literally, in the middle of things; without introduction or lead in to the story.  Usually, just a quick introduction, and pick up the game in the middle of some ongoing scene. This does several things: captures players attention, introduces game mechanics, and hooks the characters into what is going on.  In medias res does not have to be in the middle of combat, though.  If you are playing a game with a strong combat focus, it is very appropriate to do so, however.  If you are running a bounty hunter themed game, maybe in the middle of a chase, might be appropriate.  Something to keep in mind, is that this type of beginning need to have a bit of background, unless the goal is to start with the characters in a completely unexpected situation.  Lets look at a few examples:

  • Set-up: You are a group of WWII saboteurs, sent to find out about this new weapon and stop its production if you can
    • …And automatic gunfire rattles off to the left…describe the warehouse they are in and what they see, or provide a map
    • Once the battle is over, tell the brief story of how they discovered the research, and where it was being produced, in a heavily guarded warehouse
  • Set-up:You and your crew are hard riding to get a message to a garrison commander before the enemy forces arrive
    • While galloping through a mountain pass, there is a loud rumble, and snow begins cascading across your trail…set the scene in the remote mountain pass, or provide them a map
    • Once they overcome the obstacle, fast forward to the real beginning of your adventure, the arrival at the garrison, with the enemy cresting the rise.
  • Set-Up: You need to know the location of the villains lair. 
    • With the villains attractive paramour across from you at the baccarat table, You have  a strong hand and a stronger drink…

As you can see, the in medias res can be a compelling opening to your game.  However, some players would rather get to know a little about their characters before being engaged, so you might wish to accommodate them, or you may just want the theme to be a little less intense.  (Note that the in medias res can be used for some fairly complex GM tricks.  I will probably do a post about them soon).  Another popular way of starting the game is the hire/impress/briefing style.  In this method, the players are hired by a stranger in a bar / impressed by the local military / gathered in a briefing to be told what they need to do.  If you have connected your players to the story, then this method still works well, because they are now being sent to do something they want to do anyway!  They may not like how they are being tasked (such as trumped-up charges and facing the hangman’s noose unless they do this task), but they should have at least a little bit of self motivation to accomplish it.

However you begin it, you will then carry on through the adventure beats, or the action/reaction until the situation is resolved.  During all of the game, there are several things to keep in mind, and you may well have addressed them in you table contract.  But if not, or as a refresher:

  • Don’t debate rules during game time.  As ref, make a quick decision,  and a note to discuss it after the session.
  • Everybody is at the table to have fun, the ref included.  when someone is getting bored (or worse, upset) try to fix the issue, even if it means interrupting the game momentarily…
  • Remember that the Ref is not against the players, but the NPCs he plays probably are!

One more thing to keep in mind, and this has taken me a long time to figure out.  Your story ends. No matter if it is a short one-shot type of adventure, or a full campaign, the end needs to be well-defined.  lets say they beat the big bad (BB).  You can end the game with an epilogue style wrap up after the combat/confrontation.  If they lose to the BB, summarize what happens with them out of the way of the BB.  Do they come home to ticker tape parades? Is the world safe for democracy again? Are the space ghosts never heard from again?  If they lose, try not to make it TOO dark!  Don’t use: “Because you died at the hands of Sodok the Slaughterer, nearly 1/3 of the population is sacrificed for her view of “the greater good” and for two generations everyone lives in constant fear for their lives!”  You can soften this a bit by summing up that Sodok the Slaughterer continues as fearsome tyrant , whose name is spoken of in hushed whispers for generations.”  This ends the game, and rewards the players or culminates the story.  Another option,if it fits the tone, is prepare a newspaper article / News feed /Heraldic announcement for failure and success…hand the appropriate one to the players after the game wraps.  Anything you can think of that is not, “OK!  you beat the BB, now how do you get back to town to resupply?”  Keep in mind that the characters may continue in further adventures, but this is a great opportunity for them to retire from the adventuring life.

 My biggest problem, as an epic style ref, is that once the players dealt with one story line, I basically rewarded them, and then let the world go on…if the players sought out other story arcs, then great, otherwise…the story just kind of ran down like a clock unwinding.  Not very exciting, no matter how fun the actual game.  This took me years to realize,  partly because I don’t get the opportunity to play often, but also because I thought a living  world was more engaging and exciting.  I no longer believe this.  Stories need the beginning, a middle AND they require an end.  The end needs to be as complete as the rest of the story.  Sometimes it is played out, but usually this is a narrative conclusion after the final confrontation, just like the narrative to start the game.  This does not need to be you, the ref, just telling the closing story.  Talk to the players about what their characters will do now that this issue is taken care of, or talk about what the characters hoped for even in a poor outcome.

I will do one more of these weekly posts, next week talking about post game wrap up.  Feel free to post questions or comments.  Remember that I started this blog at the request of one of my players.  I have done a lot of contemplation on a lot of these posts.  I know that my rules and techniques may not work for everyone, but I hope that anyone can at least glean a few things from them.  If you have had good luck with any of these techniques, or any of them turned out disastrous, please share!

Keep Rolling! And may your dice often critical/explode (in a good way…an explosive dice may be quite painful if not downright dangerous!)

Who is the who?

What is a story (or an adventure) without characters?  In last weeks post we talked about writing up an adventure, and how the conflict is Man VS., But remember that MAN can be any protagonist, whether male, female, protoplasmic asexual, or super-intelligent shade of the color blue.  Depending on the game system and the setting, you may have all or none of these in your character group.  Characters, both PCs and NPCs, are a distinct and important part of making your adventure, and I will talk about each of them in this weeks post.

We will start with NPCs, or anyone not played by a player character (hence: Non-Player Character)  These range from major players, both heroes and villains, to walk ons.  They are a shorter discussion in general,but that does not mean they should be relegated to forgettable status..  The more important they are to your story-line, the more thought out they have to be.  While a chandler who sells the players waxed cotton line may need little more than a name (if even that), the big bad of the game needs quite a bit more!

Lets start small and go big.  A simple walk-on NPC needs little thought.In many cases, a name, a quirk and a voice are over thought.  Most NPCs of this type are stage dressing, shop keepers and villain fodder.  They represent Joe average.  They are OK in anything they need to do.  The more important an NPC, or the bigger role they play, they need more consideration. Hirelings of PCs should all have names, and at least one characteristic like  quick, Brave, giggles at inopportune times, cunning, untrustworthy, yawns all the time, etc…  For names, there are lots of resources, from a phone book (if you remember those) for a modern game, to various random name generators such as those found at Seventh Sanctum or Behind the Name.  At least keep a note card or page with a list of names, where you can write a couple of words about who they are, so if your players want to go back to them.  If they are important enough, make a note about how they talk.  If you are a 1st person player, imitate that when being the character.  If your more 3rd person, remind the players that this mousey little bartender talks like John Wayne!

  • Simply put: The more important the NPC, the more details you will need on them! Most major NPCS (based primarily on amount of “Screen time” they get) will need near complete character sheets with appropriate GM notes.

Before I even start on Player Characters, let me say this:  PCs should not be created in a vacuum!  PCs are informed as much by a setting as they are by other characters and/or story-line.

PCs

As the heart of your story, there are several things to consider when thinking about PCs.

  • What type of character(s) fits the story?
  • What character class, archetype or skill set is needed to meet the various challenges?
    • In general, the 5-man band trope will cover most requirements.  The RPG version is usually: Fighter (Heavy/Tank);Mage (Scientist); Rogue(mechanic,scrounge); Healer (medic);  Shooter (sniper, Archer)
  • What is the minimum and maximum number of players you need/are willing to run?
  • How can you hook your characters into the plot, or with each other?
    • The “you meet in a bar, and a mysterious stranger approaches” gives the player little connection to the plot or the other characters, but is a direct intro to the plot.
    • If each character has a personal stake in the outcome, then they want to get a good outcome.
    • If the players have at least some connection to the other players, then they will typical want to work together better.  This can range from family, to same school or hometown.  you can also connect each player with two other characters, and that way they web together.
  •  How tightly do the characters need to be tied to the story?  Drinking in a tavern and being hired by the mysterious patron is so easy to get them involved, but it does not really give them any reason beyond, something to do other than drink.  It is a great way to get a disparate group of unknown together.  On the other hand, the easiest way to get them all directly involved is having them all be part of an extended group that must resolve the issue.

You could provide pre-generated characters to your players.  This saves time during your first game, and allows you to control all the aspects of the characters.  This makes building hooks easy!  When building pre-gens, a couple of things to keep in mind:

PRE-GENS:

  • Most of the time it doesn’t matter if the character is male or female.  So if you name the character either give them a name that is gender neutral, or a male OR female name.  Often you can just leave the name to the player.
  • Make them at least somewhat interesting.  The background they have would not normally be “you work in a garage,”but should be they “worked in Uncle Vito’s garage since they could follow instructions, but when Uncle Vito was gunned down, you escaped by hiding behind a barrel of oil…”
  • Build hooks so they can relate to the story!  And conversely, make sure they have the skills to shine at least once during the game
    • This can be hard if you don’t know how many players to create for.  If you have two players and you had planned for 6, what do you do with the missing skills?
    • You may need to build yourself a table that shows you how to modify each of your characters if you don’t have enough, or make not of which skills are shy and consider how to get around them in the game

The middle ground of PC is character outlines.  Depending on your system, you may outline that you need at least a warrior, and a mage of a particular discipline; or you might say everybody needs at least one weapon skill at moderate proficiency, but you also need someone to be a divine worshiper of the god of black water.  With these basic outlines, you can get with your players and put all of the requirements on a white board or on note cards or whatever, and then draw straws to see who gets to choose what untill all of your requirements are taken care of, then let them build what ever else they want.

If you know your players, or are confident in your ability to guide players you don’t know, then you can go straight to character creation.  This gives your players the most freedom, but can put the greatest strain on your game, so lets look at some details:

Character Creation at the table

If you give your players complete freedom to create what they want (which is what I usually do), you have opened yourself up to the biggest headache.  You now need to make sure that the adventure fits the characters, and that you have appropriate hooks for them.

  • I recommend that you guide the character creation.  Kind of like the middle ground, you know what you need to have.  You know the setting and the scope.  (Creating characters for a single adventure may allow some rule breaking to fit what you need.  For a campaign…not really allowed!)
    • Keep in mind your story.  All of the next points assume you have a fairly solid grasp of the story you want to tell.  If you are telling a story about Victorian monster hunters, who incorporate part of the monster into themselves to make better hunters, you may not want a holier than thou brimstone preacher, but a preacher who fight the stain against God might work, but do you have the requirements of skills and abilities to meet the challenges of your story?
    • Talk with the characters about your setting.  Depending on the genre, you may even give them basics of the plot.  This might not work in a murder mystery, but in a” get the macguffin” (macguffin? you ask…the thing thqt MUST be gotten) dungeon crawl, you can probably tell them that.
    • In that discussion, they will need to know what type of characters you expect, and perhaps more importantly, what won’t fit.  In a witch hunting game, it is probably inappropriate for one of the characters to be a demon worshipper!
    • However, if they want to play that character, find out why.  Perhaps you can fit their desires into a character idea.  They want to play a demonologist to cast black magic?  What about White magic?  More limited perhaps,but the holy priest may fit in much better!
    • Feel free to have the players provide you hooks, but if your scope is a single game, help them change that hook to one that fits your setting.Let other players make suggestion about the character…get the ideas flowing.  If you need the characters to know each other, work out how.  do they each know all of the others, or is everyone connected to only one or two of the others?
    • Once concepts are made, work through character creation.  Try to make the build fit the idea, but make sure you get the skills covered that need to be.

Lets go to the example:

Continuing our example from before, lets touch on each of the ways you could create characters. We have come up with a story, so now consider the types of characters that you might need or want.  NPCs we need, are the spider alien,and its brood, the proconsul and a couple of servants.  That might do for a minimum.  The way the story is written, we may only need to completely stat out the big bad. The rest can get by with a few notes.but we may create some of the stats to deal with things we don’t expect.  Of course all of the bit players will need names, so I’ll have a random name generator (or a book on roman history) to create roman sounding names, with maybe space-opera monikers (Space runner, Star child, Voidmann).

If you are setting this game up for a convention, or just to try out a system or something, you may consider pre-gens.For the game you decide that all of your characters will have basic military training, so that defines part of their background.  Perhaps in your game, they have been together since they were out of the crèche as they were destined to form this cadre.  So now the players are connected.  Using that, the mission becomes important because one of their creche mothers has gone to this frontier planet, and they haven’t heard from her since she left.Like that, you have given them a reason to be together, to work together and a want to undertake the mission. (Maybe mother is in one of the villas that has been attacked…she is OK, but wants the master avenged).  You have soldiers; you also need perhaps a doctor, maybe with a xeno-disease specialty.  One of the characters is a research specialist.  You need a long-range fighter and a couple of close in fighters.  How about a diplomatic face type.  And then, as a final character, an insectoid non-citizen trying to earn its citizenship by serving the emperor.  Its motivation is different, but it adds a bit of party conflict, so you only make it available if all of the other characters are taken.  If you want, you can add character specific connections, but most single shot adventures don’t see a whole lot of use of them.  You can make it a point of play, exploiting it during one of your beats!  Otherwise, you are ready to play!

In the next situation, you may not know your players, but you are not limited by time, you may have a couple of session to cover the story, so you decide to have them create characters, but you will control the process.

You know you need all of your players to have Some fighting skills.  So, depending on your game system, you may require everyone to take a weapon proficiency, or x number of points in combat skills.  If your system is a pure class base, then this part of the decision is basically what sort of classes are needed.  As you can see, this is where a class based system could have significant advantages. Assuming you are playing a skill based or class/skill hybrid system you will need to be a bit more defined. You have access to notecards, so you use them. If you don’t know how many players, you may need to mark the characters.  something like all 1 star characters have to be taken before a two star character can be taken, and so on.  This ensures that the minimum classes/skills are covered.. If you are using a class hybrid system you may put out cards for just the classes , so everyone can pick that first.  Then, put out the skill cards with skill/talents/powers (whatever ) on them.These cards can include skill groups (skills for a thief, for instance) or maybe individual, allowing people to specialize as they see fit.  Once skills and classes are distributed, you might talk about hooks, or you can lay them out for selection as well.  If you lay them out, it might be best to be a little vague so character secrets are not common knowledge.  If you are going to leave the players to work out the character hooks, you might consider the next iteration instead!

Lets now assume you are going to be playing with your usual group of players.  You know the kind of things they play, but maybe this setting will get them to shake it up a bit.  So, you get snax and start talking about characters for the new game.  Everybody agreed to the setting, so you just need to tell them a bit about your story plan.  Everybody is happy with what you need.  So they can dive into character making right?  Yes, but…THey can make their character and then work with you about fitting them into the group, but if everybody talks through the types of character ideas they have, you can guide them in their choices, and other players may have some influence to make better characters!  Cool, eh?  OK…your group is talking about characters, and one of the players really wants to play a dwarven priestess to the God of the Axe.  You explain that this is not really a fantasy game, but they would really like to do this…now what?

Like so many other things at the game table – talk it out!  Maybe after finding out why she wants to play that, you agree that it could be a fun concept, but it doesn’t fit.  But (Later we will talk about the Yes, But.. .and No, and… concepts) how about she is a non-citizen from a high Gee Ice world called Graham Holt.  So, she is short, and hairy, like a dwarf, and she actually has psionic powers that her people have attributed to divine intervention.  You hadn’t planned on any kind of magic, but this minor power might fit well.  So, she gets to play her Dwarven priestess, that is on this operation to work toward her citizenship in the Empire.  Character motivation! She may not be connected to the other players directly…or, maybe she has been assigned to their cohort for a while!  Maybe even the slave of one of the other characters!

Once created, then you need to wrap it up with tie ins.  Once each of your characters is a closely connect with each other and the story that you are comfortable with, you are off to the races! (Not breeds of people, but competitions of speed…but actually mean you are ready to play!)  Well…almost.  Next week, I will discuss setting up for your game.

Let me know if this is of help!

How does it start?

I have talked about lots of different things about how to run a game, and how to do referee things, but only brushed on the meat of it.  So, lets choose a setting and go through the steps of actually building an adventure to run your players through!  I am planning on doing this in three sections, each a separate post, hopefully no more than a week or so apart.  This one will go through outlining a session.

Some caveats to this process.

  • Know your system.  You don’t have to be a guru at it, but be comfortable enough to know what the system you’ve chosen can and cannot do well.  As mentioned several times in these posts, you can tell any story in about any system. it’s just a matter of how well or how smoothly your system does it.  Knowing this, you will not make a central part of your adventure something that the system does not do well.
  • Consider your scope.  How big of an adventure are you creating?  If you are planning a campaign (out of scope for this article), your stories are considerably different from if you are making a single session game.  This step becomes more important as the scope becomes narrower.
  • The last caveat is more a reminder; plan to have fun!  Know that your players will likely do things you had not expected and that’s ok.  Know that you may miss a few things in your set-up, and that ok.  This is not a matter of life or death (well,maybe to characters and a few stiff drinks, but…) and it can all be made better by a simple discussion.  With these things in mind:  Lets get started!

We will start by choosing the setting.  For the purposes of these post, I am not going to refer to any system mechanics. I’ve mentioned a few created settings in these posts, so I am going to choose our Space Centurion setting.  Next we decide how to set up our game.  We need to make a few decisions at this point.  Probably most important is scope.  Generally the amount of work for a campaign set up is about the same as a single adventure, as well as anything in between, because as the focus gets smaller, the details need to be more fine.(however, the bigger the scope, obviously you will be doing more work overall because you will be bringing that focus sharp over a series of directly connected stories).  For this, because of the impetus behind these posts, we will focus on a single story.

At this point, we need to come up with our story.  Keep in mind that an RP adventure is not the same as writing a story.  In a story, you control everything.  In an RP adventure, you control the world, the antagonist and his resources, but the protagonists, (the players) really tell where your story goes and how it get there.  So, what do we need?  Conflict.  Every story is a story of conflict, as we all learned in 7th grade English.  Depending on your school, you may have learned different “Man VS” conflicts, but here lets just kind of look at Man VS Man (probably the most common in RP), Man VS Nature (This may be monsters, or just the world) and Man VS Self (Very difficult to do in RP (particularly with more players), but often very satisfying…doppelgangers do NOT count as Self! 🙂 )

Once a story-line is made, then you will need to turn it into an adventure.  There are lots of ways to do this, but lets look at a low detail version, a high detail one and a middle detail one.

  • For the low detail, you just need to come up with your antagonist, the goal of said antagonist, and the resources available to accomplish it.
    • But wait!  Can a Man VS Nature have an antagonist?  Of course!  the Volcano/earthquake/hurricane/flood/jungle may not Decide to interfere with the heroes and their goals, but it does anyway.
    • Many Nature stories feature time as a resource of the antagonist…usually the heroes are  running against the inexorable and may not have enough time to complete their task!  Once you understand that, throw the players in the mix!  you just need to figure out how the bad guy responds.  Done.
  • This usually requires a strong understanding of your game mechanics and your setting as well as the ability to improvise responses.
  • A high level of detail would start with the basics, as above, but you may define specific resources, perhaps even down to the number of wagons and oxen the evil baron has, so you can keep track of the attrition afflicted by your meddlesome players.
    • It requires you to work out at least partial stat blocks for the bad guy (as above), but also his support and at least generic supporting cast.
    • You can work out a flow chart that addresses each scene/event and direct the players along it.  Maybe each encounter has a very positive outcome, a positive outcome, a neutral outcome, a negative outcome and a very negative outcome (one step above Total Party Kill (TPK)) and each of those lead to the next event on your story arc.  This method can be very gratifying visually, and perhaps some events might only have two outcomes (did they get it, did they fail to get it) and others may have more.  This makes it quite easy to play out as you can see what has been accomplished what effect each success or failure has had on events and so on, but can be frustrating because you come up with all of these options and the players may get very lucky (or skillful) and blow right through your chart, leaving all of these cool ideas to never see the light of day!  (A common hazard of the world building GMs!)
  • Finally you might create beat or point arc.  This is not as loose as the first version, but much simpler than the last version.
    • Here, you take your villains goals, and determine a vague idea of where your players can affect them.  Maybe they will have one chance before the boss battle, or maybe they will have three, and if successful with a key one of those, they will add one more.
    • When building this version, remember that each point along the story or each beat of the adventure should have a fairly direct consequence on the outcome.  It should weaken the players or the big bad, or strengthen them.
    • Information about the weakness, or even just learning of the next plot (particularly in a campaign) gives them some bonus against the enemy.
This single story adventure will be primarily Man VS Man. 

Homer III is a frontier planet of the Star Empire of New Rome, but a planetary non-citizen (read alien) has been capturing some of the intrepid citizens, draining them of fluids and leaving their desiccated husk draped across the archways of their villas.  However, the citizens don’t know what is happening, they are just finding some of these farm holders in bizarre positions and bled dry.  Is it an alien infection?  is it an  enemy of the Empire?  Who knows.  SO the Proconsul has contacted his senator and requested aid from the Empire to protect the Citizens and deal with this…thing.

  OK. We have a story that is focused, has some intrigue and some sort of confrontation in the end.  Obviously I need to figure out some details, but we have the basics.  One of my first considerations is characters.  However, characters are the topic of the second post, so we will cover that in more detail later!

Characters are considered, and perhaps discussed.  Now you need to work out the story  details:

If I am going to build the simple version, I simply need an understanding of Homer III, and I need to define this Man-Spider Alien.  Does it have access to Empire level science?  perhaps it is a wholly primitive hunter, or a bit of both, ala Predator?  I need to stat it at least partially.  If it is alone, how is it capturing these citizens?  Do I want to throw in a few hints of a possible disease?  Perhaps the proconsul is ill when the cohort arrives…  It’s goal is to drive the Empire from its world so it can hatch its eggs in the upcoming rainy season.  It is a member of a hunting pack, while not quite as intelligent as normal humans, it is quite clever.

In a detailed story I want to cover many possibilities.  I will start with them meeting the proconsul, who is showing signs of a wasting disease.  He will give them the information available, and explain that the Empire has never sent the normal Janissaries or the phalanx troop so the colonist are fairly vulnerable to issues such as these.  If the players examine the proconsul, they will find he has a rare form of space cancer…one that requires high empire level medicine to cure…but it can lead to a wasting type illness, but it has never shown itself to be contagious before.  If they try to send for information on the security detail they will have to wait 3 days for the response, and are then told that one should have been formed, are they sure?  Eventually (enough successful negotiations) they will have a detail formed and sent, but it will take time to actually form, drill and deploy them…during this time at least one more colonist will show up dead.  If they go to investigate the villas, they will find that all but the most recent have been scrubbed clean by the slaves.  the most recent however, has had one of the slaves, a non-citizen of local stock disappear.  The wife has gone to her fathers, so only the caretaker is left. He can tell what he saw, when the thing left his master in the archway.  Knowing that the story can’t go on without some clue, if the players don’ talk with him, they can find a drag trail leading up to the villa.  with enough success, they can tell it is recent, that there was two sets of foot prints, and that the drag marks represent bare toes…and there is a dried trail of some sort of liquid .

But, to keep from working out all of the rest of the details, i would finish this with a mid level of detail.  Taking what was already detailed above with this:  I want 5 adventure beats.  The first is the interview with the proconsul.  the second is the evaluation of the most recent villa.  Next is the site of the killing, then is the tracking of the big bad, and finally the final confrontation.  Again, to keep the story going, we know that none of these can lead to a complete dead-end (unless it leads to a return to the main story line…maybe the tracking point, but that would then strengthen the enemy by giving them one more victim)  To workout the rest of this game, I need to create an impact for each point.  If the players are successful they weaken the enemy, or get something to use against it.  If they fail, then the benefit the enemy or hinder their own cause.  And because it has been presented, i might overlay every beat with a virus threat…but they might be able to mitigate that at some point.

Alright!  hopefully next week, I will post the next part of setting up an adventure, the Characters!! Keep in mind that when using the medium detail style for campaigns, each beat can be a complete adventure built like this.  Like a bead on a string, that can be examined and expanded into the beads on a string of this post!

If you have questions, feel free to comment, and I’ll try to get you an answer!