Session done, story told, dice are being put away. If you have finished your adventure, then you do the whole process again. WRONG! There are some things you should do after a game session, so the next session is even more better!
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!)
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!
Another post inspired by a question from a fellow, and related, referee…How much buy in can you expect from your players?
The simple answer is: As you might expect…it depends. The final answer is that they will probably only ante up with the least amount they can. Let me explain the issue, and then I will offer a few bits of advice…that’s what you came here for, right?
Buy in is what you want from your players. You want them to WANT to come to game, to WANT to experience everything you have planned. And, if your game is based on a very common setting, basically if you can say “We are playing in the Battlestar Galactica universe, as portrayed by the most recent television series, before season 3,” your players will likely know exactly what to expect. But the farther you get from that statement, the more “Buy In” you are expecting from your players. If you use the earlier statement, but tell them that the game takes place on an unknown miner, with only a couple of raptors for protection, the buy in becomes higher. You want your players to go through the notes you provide them to know who the other 15 members of the crew are. Now, your players may be that rare breed who will devour everything you have written, point out your logical flaws, and pose questions on how much a 10’ pole costs in your setting! But more than likely, they want to know the setting so they can build a character. Anything else, they want you to tell them when it becomes pertinent to their game enjoyment. Nothing wrong with this. But as a ref who loves to build my own settings it can get frustrating, when I need to constantly remind the players that the “Moon” in this world is visible all the time, that the common man thinks of the day divided into 20 segments of time called horas. “These are important to the setting of the game,” I wail…and the players ask…”so is it still late afternoon, or is it evening?” and all I can do is say…yes…it’s late afternoon…
What I have discovered is that while fascinating backgrounds intrigue players, particularly explorers or story-tellers, very few are willing to ingest vast amounts of info to play in it. What you as a ref need to decide is how much of your background is story info and how much is setting info. Lets see if I can make this clear. If your next game is taking place in our space faring Roman Empire, you need to decide if the game outcome will depend on knowing when the Leo rebellion occurred and the order the planets were taken back into the Emperors benevolent protection because a serial killer is carrying out murders based on those dates, then that info is vital story info. However, if the story requires exploration of one of the Leo Rebels ancient Villa’s, then who owned it is really only story dressing. This is important, because when setting your players up there is a delicate balance of info you can give them without making it obvious the importance of the fact. The setup for both of these could be very similar: “Game will be set in the Leo Recovery Planets. As many of these games go, there is a crime that needs solving.” If you add “It is important to know about the Leo rebellion and recovery, particularly the dates of reintegration.” that kind of gives away part of the mystery. As a ref, you have already written 12 pages on the Leo Rebellion, but have any of your players read it? Of course this borders on character vs player knowledge. (hmmmm…foreshadowing, anyone?)
Generally, epic games will have more story arc related background info, while in episodic games, most of the background info is just setting. Obviously, there are exceptions to that. If your information is just setting, then you can simply feed it to your players if and when appropriate. When it becomes story linked the issue is more problematic. Of course, you can hand out a “writers bible” version of your world that covers key points of the background. You could explain all of the background info that might be important. However, for certain games, just by highlighting that info might change the outcome of your story. You can just tell your players where all the background is, and remind them that they may need to know everything in there. However…let me address the other side of Player Knowledge vs Character Knowledge!
One of my pet-peeves is refs that seem to forget that what your players know is different from the characters, who have lived in this universe all of their lives! Unless you can describe your game as “Our game starts in our real world, and the first game day will be yesterday AND you will be playing yourselves,”…it is very likely that the knowledge of the player and their character are not the same! Even in this case, it may likely be different as what the characters know will be filtered through your, as the ref, understanding of their knowledge. When keeping this in mind, remember that the players WANT to experience your game! You have all agreed to play and look forward to it. When you are getting ready to play the new setting, it is your responsibility to sell it to them! Give them the highlights that WILL be part of the story arc. Depending on how much that takes give them more. Then Guide their character creation! What does that all mean?
First, you should be able to present the highlights of the setting in a few sentences. 30 – 60 seconds. If the players balk at that point…it is not a good time to change settings. Find out what turns them off. Can you come to a compromise without changing core things? If so, do you want to? If they are intrigued, and willing to consider, then…
Give them the highlights! With the pitch, you have hooked them. with this, you are giving them a taste. You are letting them know enough of the background to let them understand what kind of stories might occur. This is where you buff off your best Used Car Salesman jacket, slick back your hair…and fast talk! Make them AMAZED by the setting…want to bury themselves in the potential! After this, they should be clambering to make characters, bursting with character ideas!
Now you take off your storyteller hat, and put on your ref hat. Guide them in character creation. Don’t let them create characters that don’t fit the setting. If you are like me, you want to let them play whatever they want. That’s fine, if they are willing to fit their idea to the setting. Sometimes, you need to veto certain ideas. Usually, however, you can guide them to build the character core with setting clothes. Done? Ready to Go? OK…Play Ball…
However, all of that is about getting them to pay up during buy in…and they still haven’t memorized the names of each of the prayer hours, or the ranks of the Emperors family! “Refmentor! You have Failed ME!!!!” Nope! say I. This is the next part of your responsibility! Remember that I don’t like players trying to try to play a characters knowledge…You are the memory of every character. YOU need to use the proper language! YOU need to stop, or at least remind them, that their character may or may not do something given the situation. Of course, you can forbid them from doing certain actions, but it is better to offer them an alternative. YOU need to be ready to answer a player regarding a setting question. This does not mean you have to reveal secret knowledge, nor should you, until they have actually discovered it. Avoid long discussions of setting info if possible…the players don’t need to know the whole cultural history of why it is appropriate to haggle in stores, but not on the street. If the player wants that info, make a note of it to discuss after game, or tell them where that info can be found (Such as your games WIKI!). You can remind them, when they are chasing the potential murderer through the alleys, that the bells are chiming Baynar prayers now…are they willing to risk their health by not taking the time to properly thank Baynar for their Hale body? Will the murderer respect the prayer hours? What happens if they don’t pray? Can they seek atonement latter? Is there an immediate effect? This is info you need to tell them!
So, yes. You can expect buy in at least to a certain level. But, you need to be ready to sell your setting AND you need to be prepared to enforce the setting rules. If failing to pray to the God of health results in immediate wasting sickness, then don’t just strike them with the sickness and then tell them “Oh, you missed Prayer!” Their character would be well aware of this even if the players find it incredibly annoying. Does the bad guy carry a relic that allows him to avoid every other prayer? Then he may well get away this time…If not, he may still get away, but they may find his body later, having died from the wasting! Make your players WANT to learn this info, or even better, allow them to add details! As long as they keep within your flavor. Looking forward to hear about your worlds and the adventures that occur in them!
(Promise it won’t be so long for the next one!)
As I am sure you are aware, I am mostly a Top Down style ref, playing Epic story lines. This usually results in very big story lines that intersect with many other big story lines…often leaving players a little stymied as to which way to go. On the other hand, bottom up story lines tend to lead to railroading of players… However, both of these can be avoided with just a bit of planning. And, you can add life to your adventures when you have encounters that are just everyday life running into the players while they pursue their goals. And here is where we come upon a classic argument often between the top downers and the bottom uppers: Random Encounters!
Because I run epic games, I trust in random encounters to keep the world vibrant. Make the players realize that it is not there just for them to complete the hunt, fulfill the prophecy, or capture the MacGuffin. And for this, I used random encounter tables. Depending on the set up, sometimes I have random tables set up for specific locations…in one instance I had created 5 different random encounter tables for one city…and each of those had a daytime and a nighttime version. A lot of work, but it definitely gives specific flavors to each quarter of the city. On the other hand, when I run episodic games, I usually plan encounters that may seem random, but that are the next step in the story and will probably have something important that becomes obvious later in the game. Lets look at each one, to see if one is better than the other. And of course, then I will present another way to do it, that I really like to use!
Random Encounters (Cue Trumpet fanfare)
Random encounters can be as simple as setting an encounter period, and rolling on a prepared table. In the early days of gaming, back when dungeon crawls were THE THING, you would roll a D6 every hour or so (Game time, not real-time) and depending on the dungeon and noise the adventurers made, a certain result would trigger a random encounter. Then, depending on the dungeon level, you would roll the encounter, and a given set of monsters (or maybe the odd evil adventuring party) would spawn around the next corner. Viola! Real life happening, eh?!
With this process, you could try to convince the players that this group of monsters was just patrolling, or going to get something to eat, or going on a hunt…But, usually, this random encounter just turns into another reason to fight something and take their treasure. Eventually, random encounters became almost a whole game in themselves…roll the encounter check, roll the encounter, create the composition, determine their motivation, which could then make the encounter something other than a fight, such as a merchant train…are they looking for new guards, someone to hunt down the bandits that just attacked them, trade with folks on the road, or is it the cover for a bandit group, or a secret way to move the baron’s daughter from one place to another? Depending on the work put into encounter tables, you could work up very detailed encounters…of course, it took several minutes of dice rolling that made it fairly obvious that it was a random encounter. Players could engage or ignore as they wished,because it didn’t matter to the storyline they were following. In my experience, I have come up with entire new storylines from a simple encounter…of course, if the players started following it, they lost the main path and are now on a side quest…or it was a storyline that I spent time on that was never seen, or became the subject of another adventuring group. In epic games, random encounters are just about required to make certain that the world lives and exists beyond the main story line. In episodic games, inserting random encounters like this becomes just something to take time, never really furthering the story.
Random encounters could be very interesting, depending on how quickly the ref can create the details to support this just created band of orcs, commanded by 2 Hobgoblins…They could just be meat for the grinder. They could be a guerrilla group set to collecting slaves or stealing food (which may be the same things). Or perhaps they are a group of emissaries from the nearby tribes, traveling with a writ of free passage from the local land holder! Depending on the ref, and the game group, it could end up being nothing more than a fight, or maybe a chase as they try to hide from the better equipped and more ferocious hunters. Great addition to a game, eh?! Yeah, but a lot of hit and miss, and thinking on your feet. As well as the obviousness of the encounter.
Story Encounters ( bom, bom, baaahm)
In episodic games, the encounters are generally part of the story. The encounter happens, not because you rolled 2 on the D6 on the hour, but because the players needed to encounter this particular group of bad guys at this particular time either to provide vital clues or to move the story along some other way. This encounter is preordained, even if it seems outside of the main storyline. It has to be planned so that whatever the outcome, the players get what they need from it. If they bribe the thrill gang to leave them be, instead of finding a message from CorpX on the bosses phone, one of his lieutenants must let slip that Mr J from Corp X is not going to be happy with the decision. If they manage to sneak by the gang all together, a decision has to be made as to whether they can get through the story without the info about CorpX, or if one of their contacts needs to call them about word on the street about a meet between Billy Longknife, the gang leader, and a suit known to work for CorpX. If you let it slide, does the story end the same, or do they out Mr. J’s patsy, so he gets away, literally with multiple murders? This can make for interesting game hooks in the future, but takes a fair amount to set up. Whatever the outcome, the players likely believe it is part of the story line, even if it comes out of left field. Overall, this is obviously the better system, right? Well…not if you want it to be JUST a random encounter. A bit of a red herring to maybe throw them off the trail a bit…make them follow something a bit that has no impact on your story. So, lets look at a system I like to use when I have the time. It uses the best of both worlds!
This system works really well with my current Epic-sodic style. And, it works for both other styles as well. At its heart, it is similar to the Story Encounter system. You make your “Random” encounters up before hand. If they are story encounters, work out the details like you would with any other encounter. If they are truly random encounters, have them all made up before hand. Throw them in when needed. Make these encounters full encounters, or at least pre-planned. And then put them in whatever order you need. When you have the need for a story encounter, move the scene to it just as you normally would, either with a chance meeting in Epic, or opening a scene in episodic. Run the encounter, and make sure the players get what they need from it. If it is random time, pick the next encounter on your list and run the encounter just as you would any other encounter or scene. This way, your players never see you take the time to create the encounter so assume it is part of the story, or, if all of your encounters start with you rolling a couple of dice and consulting your papers, then they will never know Random encounters from Story encounters. Of course, it is more set up for you, but as I have stated before, in most cases, the amount of prep work is proportional to the enjoyment of the sessions. You can use these Random Like encounters in any play style, and your players wont have to worry about suspending player knowledge, and their characters can encounter it just as they should…with no forewarning as to how to handle this particular encounter!
(Does this need an example, or is it clear enough?)
That’s my story…Take it or leave it…My trucker buddies, they believe it!
Ways to deal with Characters in the setting
Before I go into this post, I want to explain something…I am not posting a (directly) world building article. But, there are a couple of reasons for that. 1st…I wanted to post this article. Second, World building is a HUGE topic. As far as RPGs go, it really is setting building, so any of the “Ecology” articles will be relevant. What are people looking for? The various and assorted dregs of ideas that I use to build new settings? Tools to build world/universe maps? Building stories and plot arcs? I guess I set the question too broad…So, I will be posting another poll…but it will be a fill in the blank…What kind of things do YOU want to see? And lastly…what do you think of my new layout? I might be playing around with them a bit in the near future. Please NOTE: The hexes at the top Right are the menu’s!
Now…to the point!
One of the issues that ref’s have is dealing with disruptive characters. The player is usually fine, but the character is causing problems (usually a psych type motivation or maybe a bestest) . The fighter who gets into fights with the least provocation…not with fellow PCs, but with NPCs…bar patrons, thugs, etc. The thief who feels the need to pickpocket every merchant they see, and relies on quick feet when the roll fails…the assassin who routinely murders people because they look at them cross-eyed.
None of these are necessarily BAD character types, but they can make for disruptive games. So, what can you do? Actually quite a lot, ranging from the “settle down” comment to the player, to the Blue bolt from the sky, leaving only a smoking pair of boots! (Yes, even if the character was barefoot…but that is a bit of a more gruesome sight…) But, this post has a bit of world building to it, so let me lean on that. I have already addressed some of the problems of the troublesome player, and will assume you have taken care of that.
The first thing is character boundaries. I have discussed the need for building a team of characters. So, the first thing to do, if your character wants to play a low down murdering scum bounty hunter / assassin, but your game is about lawful obedience to gods of light…you might veto the character. OR you might sit with the player, explain the arc, and see if this character can be led to a path of redemption. If that works, then you have a hook…the first priest who assigns the task has seen this poor urchin, and charges one of the paladins to convert him from his heathen and un social ways! (sorry…we are not worried about hooks…but that one was too easy!) If the character doesn’t fit the adventure, find out what appeals to the player and see if you can fit their wants into a character that does fit. Or, would everybody rather play a dark and EVIL campaign…(I will cover EVIL campaigns sometime). I won’t go into this discussion for now, we already have a given that the PLAYER is not the problem. The next, and perhaps most important thing, is societal boundaries. One of the biggest jobs for a ref is to try to suspend disbelief in a game about the Ahlflin, a small creature with small eyes, big ears and Huge teeth, who is driving the living spaceship at 100 times the speed of light through the heart of a black hole in pursuit of one of the mighty space dragons. Part of that suspension is to represent the society in which they live. And society has rules. I am not talking LAWS and I am not going to get on my high horse about legislation and morals…Rules for people to live together. No matter the setting, Killing people is bad. Behavior that disrupts society is BAD, and every society has a way to enforce that. A society is any group of people. a party of 4 have their own society. And they have ways of enforcing it. A star faring civilization of trillions of souls have a different society. The general rule is that the larger the society, the more rigid the standards. It is ok for a single couple to live however they wish, doing what ever they wish…but, when millions are involved, the rules are more restrictive to keep order, if not peace. So…how does this play to RPGs and reffing? ENFORCE THE RULES!
I am not talking about the game book. I am talking about the society. If someone attacks a city militia member, they will be, at the least, shunned. If no one saw it, and the perpetrator ensured their were no witnesses, then the militia/guard will increase their patrols…either nobody traveling alone or more often patrolling the area. If entire guard patrols are wiped out, then every available guard will be called out…they may fail morale checks, and for a while, your characters may rule a town out of fear…but that leads to secretive enemies, who may try to murder them…and eventually, they will send for a band of adventurers to deal with these evil tyrants. What about Assassins? OK. You allow assassins in your games, fine. Do you also include guilds, or are they all self-employed and freelance? Either way, the establishment will likely not appreciate people working “their turf” without sanction…and any assassin worth the title won’t kill for free…and they then becomes a target of the locals. Thieves and pirates will draw the ire of law enforcement. People who don’t pay the graft to the keepers of the shadow market will be separated from their outlet…at least!
How can you catch the player who is breaking these societal norms? Investigation! Somebody will be in charge of seeking out the ne’er-do-wells. How can they find them? What tools do they have? Magic? Science? Divine guidance? What value is magic in criminal investigation? How difficult is it to kill someone when you can bring in the local necromancer to ask the spirit of the victim who killed them? So how does your murderer keep the spirit from speaking…oh what games just that trail of crumbs could lead to! What about a theocratic society, based upon a pantheistic belief? They may use Paladins of the god of justice to investigate crimes. Priests of the goddess of Revenge to carry out punishment. Temple of the Patron of Slavers to deal with sentencing. Technology…extrapolate any CSI type show. In short, you can use whatever tools available to carry out enforcement of rules. Maybe is just the Biggest thug that hangs out at the dock…for a few coins, he visits the perpetrator with a whack-bonk. (What’s a whack-bonk? A leather bag filled with lead shot…whack someone upside the head, and you hear a bonk as the head bounces off the floor!). Maybe it is hiring gunslinger from San Francisco…he has a gun, and he travels! Summoned Demons? Summoned Angels? Created bio hunters that track a single DNA pattern that never sleeps? Or just calling the police. All of these can be used to keep players in line. Your game, no matter the setting will have some rules and some punishments. It may range from a death sentence by stoning for any infraction, to banishment, to weregild Man has inflicted some harsh punishments upon other men throughout history. Sometimes it is just because they were the enemies…but sometimes they were enemies because they couldn’t live in the rules of their society.
Simply put, think about the society. What are the rules of that society? How are the rules enforced? And then have your society enforce them!
That’s my story. Take it or leave it. My trucker buddies, they believe it!
This episode of RefMentor is brought to you by the garden of imaginary things…where game settings come from!
The Ecology of the Setting
Recently I was asked by a young GM about his setting. He had a map and had started a timeline. Great beginning, but he was trying an unorganized top down design. And, if you have ever tried that…you know it can get out of hand very quickly! So, here is a method that I recommended to him. The analogy is not great, but it does work. It is really a middle out built, disguised as top down. Let me try to set up the idea:
When you are creating a setting, you have lots of ideas that you want in it. so, you throw out a bunch of seeds and let them grow. Hopefully you can tell the difference from the weeds and the planted seeds…and what if the seeds don’t work well together…so I recommend that you plant a central stalk of your setting, and then associated pieces can bud and branch off that central stalk! OK. That is the very general description that might not make any sense, so now I will, as I often do, go into more detail, then try to give an example. Granted, the topic of a setting in the length of the se posts is daunting, but if you want more, let me know…I’ll work on detailing it more!
When you are building a setting…and for this purpose, I am not going to touch on game system, as that is a later decision that should have minimal influence on this step of your setting, you have ideas for what you want to play. Sometimes it is a couple of things you want to see, and other times it is lots of ideas that you want to be present. The first step is make a decision about what is the most important aspect of your story. Map? A Culture? A business? Magic? Technology? A language? Whatever it is, that will be your stalk…the central trunk of your setting design. Once you have your stalk, then you are going to build it, let it grow beyond what you think you might need. As you build the central core idea, you will have things, little branches that will act as hooks for all of your other ideas. Try not to worry about making them, and when you see them, make a not of them rather than try to make them complete branches. Once, you get this stalk built, when you are satisfied that nothing else would add to what you have, then…Take a break! Seriously…Take a break away from this…get a drink…find a distraction…play a game or ref another game. This is important because when you come back to it your fresh. Re-examine what you have. Decide if it still is what you want to use. If it is, decide if there is something you want to add to it. Do it as needed. THEN…find the natural breaks. A map has natural boundaries…large mountain ranges, oceans, big rivers. A culture has breaks, when governments change, or borders expand. Each of these natural breaks should be considered as a place to splice in the next piece of your setting. Now…look at what you had identified as hooks/tags/branches before and add these new breaks to it. If you have other ideas that you want to see, look and see if they will hang off of one of these natural places. If not, do you have a place that you want it to be? Then force a break in the stalk and put it in! That shouldn’t change the main part of your stalk, but you may find, if you review everything, that maybe the stalk has a few things that make more sense to be changed with this new influence. I would suggest that you work more on tying those ideas to the natural places, but if just won’t work then shove it in there!
This is where you develop those ideas that you wanted in there…remember that an idea may branch completely off from the main stalk and never touch it again, or it may wrap around the stalk and twine in and out of it. This method allows you to keep a focus on what is important. Don’t be afraid of free association…maybe, in building this, you may find a branch actually becomes a new stalk! Ideas can build on each and every branch and always reach back to another one…the natural world has all of these weird interconnections, why can’t your imagination place?! The biggest concern when using this is to get carried away! Not that is a bad thing, but if you get to far from the central stalk, the more work you are doing. In some cases, you may be developing a setting for years or even the rest of your life. Other times, you are creating a setting, to tell one story (which of course should be your stalk) so you don’t need to go far from it. Put as much work into it as you want, but this technique will allow you to be certain you have what you want, and may reveal interesting new options that never occurred to you before!
Now…an example…Obviously just a stalk itself could take pages, but I hope this will illustrate the point. I’ve mentioned a setting that is roman empire in space. Well…that statement right there gives me the important stalk. Obviously I want an interstellar civilization that is based upon early roman democracy. So, I start with the stalk and it will go something like this: The Empire never fell. The madness of the Ceaser’s was cured by divine magic and they ruled for a millennia. Because Rome remained in power, and because of divine cures, the polytheistic belief system kept Christianity and other monotheistic beliefs on the sidelines, but they have always had active followers. Because of this, the dark ages didn’t happen, so technology has advanced more rapidly, putting the tech tree about 200 years ahead…computers in the mid 17th century…The empire eventually dominates the world, opposed by a small but significant guerrilla movement in the far east, and a resolute native American (Indian, Mexican) forces. resistance. Like the original Romans, they would have citizenship rules, castes and slaves…And on and on…it would obviously need to have a general timeline, the discovery of FTL drive, the Planet of New Rome, current home of the Senate, and so on…
Now we look at the timeline. We see a guerrilla movement in Asia…so, let’s have a rogue theft of an early FTL by a Chinese agent…and they have formed a small, but resolute alliance of worlds. So the guerrilla have become a full force, and the American resistance has overthrown a few planets, but these are backwater, frontier types that the Roman Stellar forces and the Asian Universal Alliance cannot afford forces to take back over, but they both impose trade sanctions…and these rebel ships are considered pirates and smugglers in any non-rebel systems. So, now we have the Cowboy/lawless feel of the rebellion, but they specialize in stealth tech and maneuverable ships. But they make few breakthroughs because whenever they get big enough to do the required research, the site becomes a target…
There we have it…just a few minutes of thought, and much less than the minimum of work on the stalk, and we have a divinely guided Roman stellar empire, opposed by a resolute force of Asians…that still need a lot of fleshing out. As well as rebel cowboy spies…with fashion and culture defined primarily by the Roman empire…and, as I set here writing , I see so many possibilities…A Star Wars variant…a Firefly variant…A Space Spies game…Roman Star explorers…
And with that little bit done, I could start a bottom up detail level and write specific adventures with a well established setting to reach back to for support. Still a lot of work, but it can spark ideas, and maybe a new hobby of world/universe building! (Something that will always help an aspiring Ref!)
That’s my Story…Take it or Leave it…My Trucker buddies, they believe it!