Showing posts with label Campaign Planning. Show all posts
Showing posts with label Campaign Planning. Show all posts

Sunday, October 13, 2013

13th Age: Character Creation and Initial Thoughts

I am GMing again, and yesterday evening was character creation for 13th Age. I'm excited about the potential, and I'm thrilled that my players, as they look at the system and the world are getting excited as well.

It is going to be an interesting game - variety of skill and "intensity" levels at the table, but I billed it as a "beer and pretzels" level of gaming for a reason - I just want to sit down, have some fun, and roll some dice and engage in hijinks. Not to say that I'm not going to interject drama and the occasional hard decision - but I'm trying something different than my usual style. 

It was fun watching one of the players go through the book, laughing at the personal moments in the book, "At the GM’s option, the drama requirement can be waived if the table joins in a group hug," or, much as I did realizing, "I believe you've picked a perfect game for the way you run, and this group."

My wife is working through the setting material and loved the bit about the Koru Behemeth migration pattern and how it trails across the entire map and then some.

Right now the character list stands at the following:
  • Aurora, a half-elf born of human parents (it can happen on occasion), who is a Sorceress without any heritage that anyone can determine.
  • Mairenne, a High Elf cleric, who bears a tear of her goddess around her neck as her symbol to fight against the injustices of the world.
  • Mercillina, a Trueblooded Human (cause why should Elves be the only one to get fancy bloodlines) Bard, who has stood and looked across the demon-wracked Red Wastes and warded humanity against the inhabitants.
  • A Dragonspawned fighter who can speak to the animals as if they were people and has learned in her years that the animals are far kinder and more reasonable than people.
  • A Wood Elf Paladin/Courtier/Scholar who fights the good fight.
As a GM, I am loving how easy the system is to adapt and change. I've created a new talent for the Sorceress as she was struggling to find ones that worked for how she envisioned the character. I created races that give some different flavor to the past age.

Heck, I'm tempted to write up a psionic class, just to see if I can as I was inspired responding to something on Google+ about how psionics is different than sorcery, wizardry, or divine magic.

I am using Obsidian Portal again to host the game information, and the world is slowly being fleshed out.

Thursday, May 30, 2013

Cultures In Review: Goblins, Hobgoblins, and Ogres

Handling classically "evil" races that have generally existed to be slaughtered by valiant PCs is always difficult. However, as I'm trying to make them viable PC races and cultures, which means that they can't just be classically evil and malevolent marauding bands of miscreants (yes, occasionally I write simply to amuse myself).

However, I do want them to fulfill their more traditional roles, which leaves me with having them been cast-out, exiled, and without a homeland, they are functionally refugees, filling in the gaps of other nations, living in ghettos and their own small clusters.

The fallen of Krenn wandering the Empire and surrounding nations, some looking to find a new homeland, others looking to just survive. While they all share similar personality traits being of the same culture, they are expressed differently.

Hobgoblins

Behaviors (5)

  • Every year we remember what we have lost with those closest to us, Krenn and non-Krenn alike.
  • We celebrate the victories that our people have wrought in these dark times.
  • All debts and charities shall be remembered and repaid in kind.
  • We are the Chosen to leads the Kren into the brighter future.
  • [Player Chosen]
Archetypes (3)


  • Mercenary Captain
  • Destitute entrepreneur
  • Political Mover and Shaker

Johari Traits (10)

  • Able
  • Assertive
  • Clever
  • Energetic
  • Observant
  • Organized
  • Proud
  • Sensible
  • [Player Chosen]
  • [Player Chosen]
Goblins


Behaviors (5)

  • Every year we remember what we have lost with those closest to us, Krenn and non-Krenn alike.
  • We celebrate the victories that our people have wrought in these dark times.
  • A Pyrrhic victory is no victory at all, survival of the Krenn is the only true moral truth.
  • We must live in the world that is, not what could be, or what was.
  • [Player Chosen]
Archetypes (3)


  • Shadowstalker
  • Priest of the Old Gods
  • Craven Lickspittle 

Johari Traits (10)

  • Accepting
  • Adaptable
  • Clever
  • Observant
  • Patient
  • Quiet
  • Searching
  • Sensible
  • [Player Chosen]
  • [Player Chosen]

Ogres


Behaviors (5)

  • Every year we remember what we have lost with those closest to us, Krenn and non-Krenn alike.
  • We celebrate the victories that our people have wrought in these dark times.
  • If we sacrifice what we were, what will we become?
  • Not confronting problems allows them to fester, and infect the community.
  • [Player Chosen]
Archetypes (3)


  • Linebreaker
  • Neighborhood Mother
  • Mason

Johari Traits (10)

  • Bold
  • Clever
  • Dependable
  • Energetic
  • Giving
  • Patient
  • Powerful
  • Sensible
  • [Player Chosen]
  • [Player Chosen]
Okay this I think is a workable solution for the goblin races of the Krenn. I'll probably sketch out history later at some point, but really, the point of this is for my players to go "Ooo, I want to play this, what do I need to do?" and not hand them 10 pages of notes regarding the history and interactions.

Wednesday, May 29, 2013

Cultures in Review: Elves

Where once there were three distinct races of elves, only one remains a viable population today, that's not to say there may not be a remote pocket of High Elves or Dark Elves, only the Wood Elves remain a viable force in the Eastern Nations, and even there, they are diffused over a wide territory and prone to infighting.

The Osani as they call themselves are a conglomerate of several different tribes of Wood Elves loosely bound together by family ties and agreements. There are five distinct major tribes of Wood Elves: Ashur, Hanisi, Kiya, Missun, and the Zan

The Osani, or Wood Elves,

Behaviors (5)

  • Are honest to fault, preferring a direct conflict to deferential politeness.
  • Honor the gods openly in public, and adorn with jewelry in their honor.
  • Warriors earn their place only after leaving the tribes for a year and a day and returning to the tribe.
  • "Me against my brother, me and my brother against my cousins, me and my cousins against the enemy."
  • [Player Chosen]
Archetypes (3)


  • The Unnamed
  • Hedonistic Shaman
  • Thief of the Flames
Johari Traits (10)
  • Athletic
  • Extroverted
  • Confident
  • Loving
  • Religious
  • Spiritual
  • Idealistic
  • Complex
  • [Player Chosen]
  • [Player Chosen]

Tuesday, May 28, 2013

Culture in Review: Dwarves

There are two distinct cultural grouping of dwarves current in existence. For sake of analysis we will call them "Northern" and "Southern" dwarves. The northern dwarven kingdom, Thale, has been assimilated by the Empire approximately 100 years ago, so the stories of what was still ring strong. The southern dwarven kingdom, Garne, stands free, but eyes the Empire of Dragons warily.

I've set up the following using Quinn's gameable culture idea, doing about 80% of the outlining, while leaving some space for the players, when I finally do run this game, to add flavor of their own to the cultures.

Thaleans, or the northern dwarves:

Behaviors (5)

  • Maintain the Old Ways in the face of a changing world.
  • Understand that personal relationships and favors are how the world truly works, no matter what the laws say on paper.
  • Act in ways to maintain the dignity of the clan.
  • Honor those who came before and lifted us to where we are today and lift those who follow us.
  • [Player Chosen]

Archetypes (3)

  • Soldier of the Line
  • Apprentice Ritualist
  • Traveling Merchant

Johari Traits (10)

  • Spiritual
  • Dignified
  • Persistent
  • Humble
  • Helpful
  • Insightful
  • Caring
  • Clever
  • [Player Chosen]
  • [Player Chosen]
Garnessians, or the southern dwarves,

Behaviors (5)
  • Set aside personal need in order to follow the law.
  • Know that how an object looks is of equal weight to how it performs.
  • Prepare for the unexpected, else to invite misfortune into one's home.
  • Worship the gods on their day, but no other.
  • [Player Chosen]
Archetypes (3)
  • Noble Guardian
  • Manipulative Courtier
  • Failed Craftsman
Johari Traits (10)
  • Adaptable
  • Able
  • Energetic
  • Observant
  • Sensible
  • Precise
  • Assertive
  • Proud
  • [Player Chosen]
  • [Player Chosen]

Wednesday, May 22, 2013

I hate naming things.

So I suck at naming places, people, things. Absolutely horrible at it. Linguistics was never my strong point, and while onomastics was always a good way to write a quick five or ten page paper in undergrad, I think it may have broken my ability to come up with syllables that sound "acceptable" to each other.

So I'm never sure what to do - I can go with nearly purely descriptors for names, and keep everything fairly fairly straight forward, or if I want alien, I can open up a translator with a particular language and start translating terms until I find one I like. As long as I avoid common languages, I will probably be okay with anyone at my table saying, "Um, that's totally the wrong variant/intent behind that word," because my only defense is "It may be, but it is the one that I can pronounce the easiest!"

So folks who name characters, places, things something other than good English names, how do you go about doing it?

Tuesday, May 21, 2013

What Creatures Populate the World

What sentient beings populate the world? One of the joys of fantasy is the ability to pretend you are a pointy haired being who dances with trees; a stout dour earth worker, or any number of other possibilities.

One of the curses is that all the nations feel about the same - there's one elf nation, one dwarf nation, etc., - humans of course have a multitude of nations. As I said before, I'm going to try and limit the variety of the "monsters" in play, however, I'm also going to try and widen what's a permitted "player race" - 13th Age makes this easy by limiting what benefits races get inherent to the game. I may widen and tweak that as appropriate as the game continues onward.

Friday, May 17, 2013

TMC: Developing Icons for The Malcontent's Cause

Icons are a neat bit from 13th Age - they are major larger-than-life NPCs who your character has a relationship with in some way, it can be positive, negative, or "complicated". What I like about this set-up is that these are powers with whom the characters interact, either directly, or with some part of their regime. They aren't gods, they aren't distant, they are right here, in this world, making decisions.

While the 13 icons they provide are good, they don't completely work with what I'm envisioning. Here's my first draft at developing Icons for the game.


Wednesday, May 15, 2013

Campaign Idea: Banished!

"For exile hath more terror in his look, Much more than death." ~Romeo and Juliet, Act 3, Scene 3

I think my next campaign pitch, when I'm ready, will be about playing exiles. Inspired by colonial era, and in particular, at least the mythos of Australia as a land where Britain dumped its malcontents and criminals to get them out of the country causing problems. The land was brutal and nasty and actively vicious to the settlers, with flora, fauna, and natives all hostile to the incoming settlers.

Yes, this is hyperbolic exaggeration, but it is at least a nugget of the inspiration.

Thursday, April 11, 2013

So What's Next?

So I think I figured out what I'm going to try and run next, and I think it'll be Marvel Heroic Roleplaying, at least for a short term deal, though my definition of short term is probably off.

Why? Cause I want to run some non-apologetic heroics, after running "shades of grey" games for the last decade (Exalted, Changeling, Dresden), I want some "Big Damn Heroes" at my screen.

Plus, I've never run straight out super heroes before, capes, costumes, the whole bit.

It won't be this month and it probably won't be next month.

But time for something different.




Thursday, February 7, 2013

Choose Your Doom, Players

I've been playing around with the idea of players outlining scenario/campaigns for their PCs to survive - and letting them choose the amount of risk vs. reward they want to take on. I think my first serious introduction to it was John Wick's Wilderness of Mirrors, where as the players develop the mission from the GM's premise, they get the equivalent of plot points.

Now I wouldn't want to do this for every mission, but it would definitely clear up a concern I have about players not getting the spot light time they want, or feeling like they are getting challenged enough (or perhaps they just want a laid back, casual, run and gun scenario versus the nail biting, everything is at risk type of scenario).

What would it look like? It's is going to vary from game to game - my Dresden Files game is going to have different challenges than a D&D game. But some basics I would expect there to be a premise, challenges, and rewards. Using my Dresden game as a basis:

Premise: One line summary is happening. "A conclave of evil wizards is headed into Denver to summon the dark gods."

Challenges: There are three primary challenges:
  1. Determining who the wizards are;  
  2. Determining how they are going to do it; and
  3. Stopping them from summoning the dark gods.
Challenge 1: Who Are the Evil Wizards
  • Large number of Wizards, who have powerful lackeys.
  • Other wizards are in town, who may be innocent of THIS plot.
 Challenge 2: How Will It Happen
  • Happening at a collection of ley line points outside of town.
  • Going to require a large sacrifice of energy, perhaps a local spirit, perhaps lots of people. It won't be subtle.
  • Requires knowledge and understanding of the rites.
Challenge 3: Stopping Them
  • Direct force at the ritual site with ensuing pyrotechnics of massive wizardry battle.
  • Obtaining all resources before they get them, preventing them from summoning local spirit to sacrifice, rescuing kidnapped children.

Rewards: Significant Milestone, or Major with combination of another plot line, such as the New World Order pursuing one of the PCs.

For another system, I'd want to rate each challenge based on the number of obstacles and the difficulty of each obstacle. I probably could do it with this game, and granting each area a "Max" rating from +1 to +20 for the max skill of the opposition.

Wednesday, December 12, 2012

Mission Based Gaming Fantasies

I'm getting fidgety with my gaming. I keep having thoughts of running something more episodic in nature, versus the saga-esque nature of my Dresden Files game. Basically, run a campaign where there's a more defined beginning, middle, and end, versus the shifting boundaries of how my current game is settling where there's rarely an easily defined path to success.

And I'd like to change that for another game, not that I have the time to run one. A game where there was an assumption of competence and success. Plus, some of this is gamer ADHD where there are all these neat systems out there that I want to try out. For example:
  • Cortex+: either Leverage or Marvel Super Heroes. The latter is probably better suited for what's in my head which is more "beer and pretzels" of getting a few friends together and gaming without needing to remember every detail of what happened last session.
  • Night's Black Agents: The temptation here is because my games keep being about investigation, investigation, and more investigation, and Gumshoe is supposed to be about the investigation - it is designed around it, and this iteration has a more robust combat system to back it up. Probably wouldn't use the setting precisely as written, but there'd definitely be something of the Weird™ at play.
  • Home Brew Mercenaries: Inspired by listening to some actual play podcasts of a Mass Effect game involving a mercenary company, while I don't want to play the same system (modified nWOD), but the idea of playing a game with a group that has a mercenary company to control and build up, as well as playing the individual mercenary, appeals to me
Some of this is in reaction to something I was reading of FATE where it best supports when the players have a stronger vision, and the GM works within that framework, this would be within the notion of reversing that dynamic where the GM has a stronger vision of how the game goes (by controlling the missions with input from the players) so there will hopefully be less of the players "grasping around in the dark" trying to find a workable solution to the challenge.

Friday, September 14, 2012

Horror, Types Of

Caveat: I'm a horrible player for a horror game.

But there was a thread on RPG.Net a couple months ago, [Horror] What scares you?, and while there are a lot of good, standard answers (body horror, loss, dis-empowerment), one of the posters actually broke horror, in an RPG context, into three large categories that I liked: Dark, Creepy, and (as I summarized it) Suspense. I'd add in Helpless trait as well, even if (because) it just irks me.

Dark is horror based around the lack of good choices - do we kill the children or release the disease into the larger population. The choices of nastily horrible and horribly nasty. This is my favorite to have subtly done, and best done by not hammering the horrible choices, but letting the PCs be PCs and then having an outsider note how this is really, really fuckin' weird. Such as the incident that caused us to coin "Gunteel" as a portmanteau of "gun" and "genteel".

Creepy is horror based around atmosphere. Your name etched in glass. Body distortion and twisted. Mold and and random holes in the walls where you realized you've been watched. The creepy little girl, the off insectoid voice that I used for the tutor demon in Exalted, all examples of creepy ambiance.

Suspense is horror based around unknown and the eventual surprise. It is the most time delineated RPG horror trope because so much of games are seeking answers, and when you find them shooting it repeatedly. For example in Deadlands up until we had the ritual to stop the end of the world there was a sort of futile desperation setting in as we just kept trying to move forward and floundered. But the moment we had a solution we turned back into our highly lethal selves again.

Helplessness is horror based around being ineffectual. Nothing you do matters because it will have no grander effect. For me, games around about "doing things" so I will always turn and fight or resist, sitting there moping isn't all that fun for me. However, used in a limited sense, it can inspire fear/trepidation and cause players to start scrambling for a solution to end that helplessness. But over used and it turns into "Really? Another thing we can't hit until you give us the solution? Let me know when we can do something again."





Monday, March 26, 2012

I love Mechanics Monday: Player Relationship Structures

In an attempt to post more regularly, I'm going to do my best to have a Monday post about some mechanic I either saw someone linked to, had come up in game in an interesting way, or otherwise caused me to go "Oh, I should write about that."

I don't think anyone who games with me would be shocked by the revelation that I love characters who are connected to world via relationships with people, whether they are enemies or allies, frenemies or dependents, mentors or allies, I like them all.

First of all, they place the PCs in the world, giving them a sense of space, they answer the question "Why don't we just cut our losses and run?" And if the PCs DO choose that options, it says something about them.

The idea of the adventuring band traipsing across the wilderness and defeating evil hasn't appealed to me in many years. I want a community to closely tie my characters to conflicts and give them a reason beyond mere fortune and gold to risk their lives. Risk for your country, your friends, your enemies, risk for a reason beyond avarice, or if avarice is motivation enough, why is it enough to fight and die for? The lone ronin without ties to hearth or family, with no friends holds little interest for me to explore their motivations.

And I understand why players have learned to create such creations, it is too easy to fridge a wife, kidnap a child, and otherwise make them a vulnerability to a character. And many folks play to escape and be strong, not constantly be saving Timmy and the wife from the dastardly deeds, it isn't interesting.

Something to make it interesting is something I saw a while back that Will Hindmarch posted regarding pre-defining character relationships - he was doing a Dragon Age campaign where the players would be playing 3rd, 5th, and 7th level versions of the same character in the same campaign in various adventures.

It is an interesting concept and something some friends and I flirted with doing in Eberron once upon a time, the idea of telling a story at the 7th level, but having to go tell that tale at 3rd level is neat.

However, I'm digressing from the interesting mechanic. What got me was that these weren't predefined NPCs, they were just random faces; however, after going through the six questions that developed friendships, enemies, romance and other details, they had a body to fit into the existing campaign. For even more complication, I could see easily doing this with each player so one person's friend may be another's enemy. Though that might get a bit TOO insane to track, so instead you need to set-up so some questions for the group, and some for the individual - which allows you the interpersonal drama of having a friend whose purpose is against the group as a whole.

The pre-definition at specific levels only works with this sort of pre-set campaign idea, but I could see using it to give me permission. Instead of "Two of these characters are enemies or rivals by 7th level. No matter how you feel about them, they are opposed to you now. Pick them now," you can instead choose to say"Two of these characters will become enemies or rivals." Don't give a time frame, and thus instead of having a defined story that might be interesting to play out, you instead have a flag of permission - you have "I have chosen to have this happen to my character."

Now my wife may still screech at me for this, but during an Exalted game I ran she had taken the Merit "Heiress" which was when her father died she inherited the family business and fortunes. So yes, during the course of the game her father was killed, albeit brutally, and she was all "You KILLED my father!" To which I had to reply, "But you wanted me to, you only got the benefits of the merit once he died, you gave me permission and told me to kill him!" We still joke about the interchange to this day; as I do my best NOT to destroy people's families unless it is evident that they are on the line.

So if you are trying to tie your characters into a setting (versus the wandering heroes who roll in, clean up/level town and roll on out into the sunset - a perfectly valid playstyle, just not one I'm willing to run) and a bit at a loss of what to do, this sort of idea, taking NPCs that are either formless or established and allowing the players to establish not only current but the intended arc of future relationships. That allows the players some guidance to playing to the intended arc of the story.

Enough for now. At some point in the future I'll probably talk about Smallville's relationships versus Dresden Files versus Weapons of the Gods. But I have a backlog of posts to work through first.

Friday, January 6, 2012

Story Arc Design

This is continuation of my theft of John Adamus' piece on The Beat of Game Design. The first part dealt with Adamus' five questions of designing a game, i.e., what are the rules designed to accomplish. The second part deals with how is the game structure - what makes up the beginning, middle, and end of an arc, and how does it feed into the next cycle?

Monday, October 24, 2011

A Tale of Three Cities

So I've decided I am going to run a game of the Dresden Files, set in the Dresden Files world. Other than it being pre-Changes, I don't have a firm opinion of when it will be set in the continuity; other than to say that once the game starts continuity goes out the window. The rest is behind the break.


Saturday, September 10, 2011

Types of Adventure!

Or my continuing series of learning more from poor examples of play than good examples, that is "Happy families are all alike, every unhappy family is unhappy in its own way." So the game last Sunday was billed at a political intrigue/combat game. The other choices were investigative/combat, horror, and then a "whatever folks want" type game.

So lets talk about what various types of games mean? Or at least if I use the phrase "Political" game to describe what I'm looking for, what I mean. Now, I'm not discussing something in the style of Rob Donoghue's Adventure Triad - that's more how the play is styled, than what it is about, what tropes can be expected, or if the DM is feeling cruel, intentionally thwarted.


None of these are styles are in isolation to each other, in fact, my favorite style games combine investigation, political intrigue, and combat; puzzles and exploration are not games I particularly enjoy playing, so tend not to show up often in my games.

Combat. When I say this is going to be a "Combat heavy" style game, that means dice are going to hit the table frequently. Or perhaps not - this is going to be a game that rewards the character's combat abilities, and the player's tactical abilities. Ideally, there will be chances to ambush and be ambushed, as well as more set-piece combat; hopefully with interesting terrain that changes up the usual strategies and provides new ones. Some games (particularly D&D 4th edition) can be extremely oriented towards location tactical combat; whereas some (like Exalted 2nd Edition) are oriented not so much where you are spatially, but "when" you are - that when you choose to attack, and how you choose to attack, is as important as where you are attacking from.

The key to a combat game is making the combat interesting and challenging - whether intrinsically from the combat itself, or what the combat means.

Investigation. Investigation games center around finding things out and piecing them together. Depending on the game system, this can be as simple as rolling investigation when at a scene and getting information, or be far more detailed out (Gumshoe, apparently, though I've never played and it does not seem to be a system that I'd enjoy intrinsically for itself). However, the key to investigation is the need to get facts, and then piece them together. Sometimes the act of looking for facts brings to light the facts as the "bad guys" get nervous and try to take out the investigator - I call this "poking the bear". In narrative, this seems to be about every paranormal detective story written - bumble around, bumble around, get attacked, survive being attacked, use who attacked you as the clue to get you the way in and piece together the facts. Mage, in both the Awakening and Ascension makes it really hard to do a "hide the facts from the players" routine, so almost the entire focus needs to be on making it interesting to piece the facts together and figuring out what to do with those facts.

The key to an investigation game is the idea of finding out facts and piecing them together. (Note: This is about as close as I get to a puzzle in my games.)

Political Intrigue. Political intrigue is about people who want something, and are prevented from doing so through overwhelming force (otherwise the superior organization would just kill those that stood in its way). It requires at least two factions, with the players forming a third faction. My preference, solidified after long discussions with someone I consider a master LARP writer, is to have at least three factions, maybe more. The shorter you want the game to go, the fewer factions you should have -- so in your standard Con game? Two factions. Long running LARP that you want to last a while, at least three, preferably five or six, with natural allies and enemies within each. That way there are numerous people to play off each other and band together. If there are only two, then as soon as one has enough force to just kill off the other side, they will do so.

And that's the key to a political intrigue game, binding various groups together in a common goal, and thwarting others who are doing the same.

Exploration/Environment. Exploration games are interesting in that they are really hard to do well in an open environment in a table top game. Why? Because most of exploration in popular media comes from the visual aspects, or covered with a montage and the challenges are the interesting part for the viewers. So Exploration may be deemed more about conflicts with the environment, from food and shelter to "how are we going to get across this chasm."

Puzzles. Puzzle games involve a lot of "engaging the player, not the character" type games. Translation/code breaking, piece together these items in the right order, that sort of thing. You can see a lot of these in video games with the visual elements engaged. As a rule, I hate them. I get bored with them. I'm going to end talking about them now. (No, this doesn't have ANYTHING to do with the fact that I'm horrible at them. No not at all. /sarcasm)