Do you as the GM have obligations?

Not too long ago we talked on our podcast with Swedish rpg luminary Anders Björkelid. He and his friends in the rpg club NisseNytt toured conventions with massive well researched scenarios, and published their fanzine where they pontificated upon our hobby. Anders summarized their attitude to scenario design, and their modus operandi as (paraphrased) "every player deserves an experience and a story, regardless of what they do". This I remembered when I read LotFP last week. James Raggi mentioned something similar, but with the opposite intention. He claims the GM have no obligations to the players. If they complain about being bored you ought to say "Yeah, so what are you going to do about it?"

So, do you have an obligation to the players, or not?

I find the idea quite compelling if I go to a con and sign up and pay for a game to be guaranteed a story. If I am proactive and engage I will have fun, but even if I sit back and have a day when I just want to hang out and see what happens, something still happens!

On the other hand, I know that a game where the players are engaged will be more fun, and it will be easier to run for me if the players are there as co-creators. Maybe we even share narrative control, and it will be more of a interactive storytelling.

Interactive storytelling is actually one of the key words for what NisseNytt was all about. So how does this tie together?

I think you as a GM do have an obligation to the players. But, I also think as a player you have an obligation to engage in the game.  Middle of the road, wishy washy conclusion, eh?

Have you, dear reader, read any of the Play Dirty GM advice by John Wick? If you have not, I suggest you do. John is sometimes very polarizing, but he is seldom boring. His way of GMing is all about bringing stuff to the players. But, it's not at all holding hands and telling a story. No, he suggest you hurt the PCs as much as you can, and kick them while they are down. "They will love you for it", he claims. I guess you could say John Wick argues you have an obligation to make life tough for the player characters, so to sweeten the final victory.

Obviously, there are more than one way to skin this particular cat.

Maybe this in one of the reasons role playing games are such a powerful tool too express yourself through. It's adaptable to multiple approaches, and none are wrong. I have played in a NisseNytt scenario where I knew there was a story going on, and for me the big thing was to follow along to participate through the viewpoint of my character. I've also played with James Raggi, where he sat back and watched us squirm after presenting us with a extremely messy situation we as players had to sort out as our PCs. Finally, I've also played a session of Dogs in the Vineyard where the game master put me, the player, under more and more pressure to act with my PC as the situation we had become part of spiralled out of control as it began to emotionally engage us as players just as much as our PCs. I was down, and the kicks kept coming.

I loved all of those situations. So, ask yourself this the next time you sit down behind the GM screen. Do you have an obligation to the players this time?

Running a game for kids

Tonight I ran a game for our daughter, two of her friends and our son. My wife also played, so give the kids some kind of help when floundering. It was interesting to say the least.

The game, Morwhayle, is a game from the same guys who created the newest Mutant game, that will be published by Modiphius in the UK. It's based on the novels and comics by Peter Bergting. It's designed with new players in mind, and I think it's an interesting game in of itself.

First off I think the idea of using dice pools, adding dice for Abilities, Gear and Hindrances (rated from d4 to d12) and so on is a very good way to visualize the world for the players. With newbies, that is a great way to get them to pick up on the rules faster. It felt like Aspects in Fate, but with less jargon and with more dice to choose from. Also, I liked how the game took hints from Apocalypse World (the most talked about game I have not yet played) and let character creation be done wholly by just picking stuff of the sheet. Slick and modern game design.

Most importantly, how did it go? Well, they seemed to like it and when I talked with our daughter after the game, she mentioned how she was going to test another archetype next game. Hooked!

What most amazed me was that the youngest player was the one who quickest grasped the idea of playing a role, and talking in character!

But, being a GM for kids, isn't it hard? Well, it's different that running a game for adults, I tell you that! For starters, kids have a much harder time sitting still around a table for multiple hours. I strongly recommend you include a break or two, with snacks. They also took the game much more into the real world than adults do. I mean, how often do your players crawl under the game table when their characters are hiding from zombies? But, I think there are benefits for you as a GM as well. You have to keep it moving and if you don't give every player something to do, they will just leave the table! I thought I ran a pretty simple story, but be prepared to face extreme cases of the truth of the Three Clue Rule. There should be lots of hints, and lot of options for how to proceed.

All in all, I think the session was not only fun for us adults, to be able to hang out and play a game with our kids. But also a learning experience about what it takes to make a game session run well. Adults may be more used to take control of their situation, but they can be just as paralyzed in the face of decision and you should always be ready for that.

Best thing in the end is I think we will do this again, and I look forward to it.

Some impressions of Mutant: Year Zero

I guess you have heard that Modiphius is going to publish the Swedish post-apocalyptic game Mutant? If you have not, go forth and click that link and read some about it. I'll stay here until you get back?

You're back? Good. Let's move on. I have read the Swedish edition of the game and I'm going to talk a bit about my impressions. It is a game with some peculiarities and own takes on things. Please note that as far as I know, the edition Modiphius is publishing is just like it. But, I have no inside information.

First off let me say this is an interesting game. I have yet to try it, but reading it makes me really pumped up about the idea of running and playing it. There are some things that stand out.

The first thing is how the game have a communal part, and an individual part. You all belong to a community of mutants, an Ark. This Ark you all develop together, deciding how it's supposed to be developing, putting efforts into defenses or developing culture. This works as a framing device for your individual goals and also drives you into the Zone, to gather resources. I really like how this gives you all a reason to band together, and something to do.

Then there's the characters. All characters have one NPC they hate, one they want to protect and then they have their one big dream. It's the classic stick and carrot. While this is neat, I think where the system has the potential to really shine is in the mixing. You have a "council session" first at every game session where you plan the strategic game, then you get to play your characters and their hates and cares pull them in different directions.

Now, this is when I find it all becomes quite interesting. You have 10 Type Events for the Ark and 10 Events for the Zone. Roll the dice or pick one of those events, like One NPC Is In Trouble or Fight About An Item and combine that with the strategic goal for the Ark and the different characters the PCs care or hate and you will have something happening. I think this has potential! When things have really gelled in my Tianxia game is when I have managed to match a place with characters in conflict. This feels like it could work like that.

Actually, this makes me think of how I used to read Ars Magica and feel that game sounded great, and then really fall flat in play. This promises some of the same things. Maybe it will all come together better this time. I feel this way the characters are beings hooked into the Ark more than the Ars Magica characters ever where. In the Ark there's a desperate need for food and clean water, and necessity will drive the PCs and NPCs into conflict, and into the Zone. With the Type Events, you are sure to have something happen that will topple any kind of balance achieved.  

This all comes together to drive story. Note to my old school friends, this is not Story Before! This is very much a story that develop out of play. This naturally relates a lot to my previous Fate experience. There are still lessons to be learned from that. I will re-read chapter 9 of my Fate Core rule book and think upon the Mutant way a bit more, and I expect the fallout to at least be interesting. Yeah, fallout. The future is post-apocalyptic and brutal.

Running Tianxia - the session that brainfaded

Last Wednesday I was supposed to be running my somewhat weekly Tianxia game. This time I canceled the game, since not only were attendance a bit spotty, but the main reason was I was totally out of ideas. Now the question rears up, should a total brain fade on the GM's part be reason enough to cancel a game night? Can you not just plow on, or is it indicative of something being done wrong?

In theory you just show up for a game, explore the hell out of the secondary world and fun things happen, right? Pure sandbox enthusiasts talk about that as the bees knees, but I've never been able to make it happen. Either it's me not being able to make the sandbox enticing enough, or the people I play with just aren't that good at go and make the world their own. Considering the fact we are all busy people, who drink beer and chat during the the game on a weekday night tired after a day's work, I guess the latter is a major part. My limitations I am well familiar with, so I leave them out for this time.

So, what do you do to give the game some structure? Previous sessions I've set up a location with some people in it and written up some goals for them, and then it has just evolved naturally from there. I wrote about that, the plot triads, and how well it worked before. This time I had the location, but just couldn't invent any interesting people for the life of me.

Thus I turn to the game system for a lead. When you play Fate you can be sure of one thing, it's covered by the rules somewhere. It's the most comprehensive rules set I've played so far! Guess what? I have not read chapter 9 of the Fate Core rules yet...

Looking in that chapter I find a handy little list.

Creating A Scenario:

• Find Problems
• Ask Story Questions
• Establish the Opposition
• Set the First Scene

There's one way to start off that first bullet point, start with the aspects. Naturally. Everything is about Aspects in Fate.

This kind of brings home how important it is, and hard, to create good aspects. Now when I sit down and look at them, some of these I should be able to use, shouldn't I?

Always in Trouble, Watch Your Tongue, Unwilling Mentor, Paladin in training, These are sad times, Righteous Anger, Scumbags gets what they deserve, The Good Fight

I know where I want the action to kick off, in the governor's palace. Using that I guess the list above should be able to tell me something about the potential conflicts and opposition.

I wonder if it's because it's so formalized that it feels hard? In the end I still think this will make me a better GM. I usually never think things through like this, and when lightning strikes I am cooking with gas. When there's no lightning it will be a dud. Hopefully this will teach me something.

Using Plot Triads for the win

Last night we played Tianxia again. My life is in a very hectic phase, but I have managed to get a 2-3 hour session in now for two weeks in a row. Naturally, when you have limited time you have to use your game prep wisely.

The setup for the episode last time was that the Iron Monkey Escort Company had gotten the prestigious contract to move the Jade Buddha from the Green Heaven Temple to the governor's mansion in the city of Bao Jiang. Since running yet another ambush in the woods felt repetitive, I decided to focus instead on what happened at the end and the beginning of the journey. So, it was to be intrigue and showdown in the temple before they get out the door with the jade statuette.

Having decided that I wrote up a few antagonists. I had a young woman, with a troubled past. Since one PC is a "paladin in training" I knew I could entangle him there. I had an arrogant noble sword fighter who would rankle one of the other PCs, and to make things interesting I followed the advice in the Tianxia book and made a plot triad.The plot triad is a simple but smart idea about always having three way interplays between plot elements. So, the arrogant noble knew about the troubled past, but was honour bound to protect her because of that.

I took that same plot triad idea to the jade buddha statuette. Young woman want buddha, scheming corrupt bureaucrat want the buddha and the PCs are hired to take it from point A to point B without those two getting it.

It turned out this was a great way to get the players to interact with the world, and the characters within it. Thinking about it, just interacting with one character that have a "thing" and you want it, is pretty limiting. Either you get it, or not. The triad turned out to twist that into something that felt complex, and manageable at the same time.It was easy on prep, with just jotted down notes on who where present and who wanted what from whom. All in all, just a sentence on each character. Having limited time for prep, this was perfect. I can really recommend this tool!

What happened was the young woman charmed one PC to let her out of jail after her attempt on the statuette, the the magistrate made his grab for it, and the players got to fight a whole squad of soldiers in the abbot's quarters. They whacked the magistrate, scattered the soldiers and ride off with the buddha, escort company banner fluttering in the wind. Up on the hills were bandits and out there was the young woman, and the mysterious swords man. Very cinematic.

Next time I will just fast forward to the governer's mansion, and set up some new triads. Almost instant drama. It worked wonders for a busy gamer!

How to run a con game, some notes for myself

Last Saturday I ran a online Stormbringer game for an online game con. It was in the middle of the nineties the last time I did something like that, so I was a bit rusty.

Running a game online has its own problems, and running a con game is also its own beast. I knew, in theory, how to do it. This is as much a reminder to myself for the next time as well as some advice for the potential reader.

Base the scenario on scenes
Have a clear idea of the location, and the concrete opposition in that situation. It will help you pace the game, and you know how much the game have progressed in time and in the plot.

Make the end goal simple to grasp
Don't make it too fancy, or subtle. In a long campaign you have all the time in the world to establish the metaphysics of the world or the power players in your setting. In a con game you can't let the players game their way to a stance on the global problems. There just isn't time.

The player characters have to be distinct
Make sure the characters have something they are good at, and some things they don't like. It's probably a good idea to make sure there are NPCs that push their buttons, as well as some of the other characters.

What I did
Sadly I didn't heed all that advice. I did a fairly involved setting, with subtle power play. I also included references to other media, which some of the players clearly had no experience of. But, my biggest fault was I did not break it into scenes. I just started it and knew where it was headed, planning on shepherding it along as we played. Naturally, it made it less focused than it should be, and rushed when I looked at my watch and how far we had proceeded.

But, some of my players got to shine, do weird things and kill every human being on that plane of the Multiverse. That's worth something.

Getting the full impact of the story of a game

I just finished reading Permanence, by Karl Schroeder, today. For those of you who don't know, it's a outer space science fiction story with some intriguing aliens and some cool plot twists and turns, and real sense of wonder.

More than once I've lamented the fact that never have science fiction games turned out like I'd want them. When I finished Permanence I once again got reminded of that, since some parts of that book would work just fine as scenes in a Transhuman Space game. But, the philosophical implications, the inner turmoil of the characters and the way the mysteries of the settings were shadowed in the actions of the protagonists of the novel, those would probably never crop up in a game. Maybe it's a problem for me that the kind of sf I like is hard to recreate in a game. Or is it something else?

A while back I watched the Western remake, True Grit. It was a fabulous movie, with great shots and excellent interplay between the characters as they discovered their own "true grit". They way it was shot, using the scenes and the camera to show distance and closeness was also excellent. Today I saw the original, the True Grit from 1969 with John Wayne. I'm quite fond of many of his western movies. The Searchers, High Noon and Stagecoach I consider some of my favourites of all time. So, here we had the same story told in two different ways, just like the same adventure could play out very differently at two different tables.

That movie was shot very differently. It was always very light, never dark even when it was clearly supposed to be night. The music was so light and merry I almost laughed. After hearing for so long that "this ain't an easy trip, sister", that music totally flipped that impression over into a jolly ride into the wilderness. Surprisingly many of the lines the actors had were identical in the two movies, but they felt quite different. They both basically said the same thing, but it came across in a new way.

So, what does that mean for my longing after the deep impact of Permanence in my science fiction games? Well. I know that I can decide not to play jolly music when it's supposed to be grim, and I can try to describe the inner conflicts in NPCs by their external actions. But, I'm still a far away from capturing that magic. Sometimes you say the same things, and it comes across in a totally different way.

I wonder if I'll solve that riddle.

But, damn do I want to play an Old West game now, or what!

Scenes and nuggets - the DGP way

Anyone remember the DGP "nuggets" system? It was back when GDW had handed over most of the development of their Traveller game to Joe Fugate and crew of DGP. They had been thinking on adventure design a bit. The result was that they designed adventures in the format of "nuggest", which were self contained scenes. I wrote about them once before in relation to campaign play of Battletech. Now I'm thinking of them again, for organizing your scenario in a more general sense.

Each nugget had some thing that would happen, some NPC you could talk to and a place to visit. The new thing was that DGP had sorted these in order, and told you which nugget had to go after the other. It was kind of like the solos, where you had forks in the road where you had to choose were to take the plot. I always thought these nuggets were a sweet idea, but I also never felt they worked as promised.

In Trail of Cthulhu the authors write about how to structure your adventure along a "spine" and then have branches off that tree. Core clues, those that are crucial for the mystery, are forming the spine of the adventure. I have not yet played much ToC, so I have no  solid opinion on how well that works. It doesn't read like it would work that well, but maybe it just puts into words what we have been doing all along. The thing is, this is what the nuggets DGP used reminds me of. I guess nobody is surprised that this idea was old.


Now I feel like pulling out some of those old Traveller books and taking a look at them with ToC in the back of my mind. For those who are interested in adventure design, it might be something worth studying. Identifying where you have choke points is very crucial if you want to make sure you don't limit your players, and maybe structuring your scenario in nuggets like that is a good way to find out the logical structure of your design? If you do that, you can then design where to break up the rails, and where to leave them in. I for one am going to take a look at those old nuggets again.

How to write adventures - stringing scenes together

I've posted before on my thoughts about scenes as the currency of gaming. This post is about how to use them to best effect. I'm not claiming to tell how it is, this are my thought right now, and will probably change.

Having scenes thought out, I think it's quite tempting to decide from the start which of your darlings you want to use, and what's going to happen. Especially the latter is tempting. If you "figure out" that they players will do B after doing A, you can be pretty sure that they will want to do C instead and will violently protest about that B you dangle in front of them. Don't do that. I at way to got at doing just that. So, how do you do?

I've tested out a few ways myself, and read about what others have done. I think that there are a few way to do scene based design without laying down the tracks. I think the best way is to have one opening scene, one scene with some kind of conclusion to the main conflict and in between you have the other scenes. If you introduce a threat in scene one, and put in some things that leads up to the conclusion or what brings the conflict to a head you can kind of have your cake, and eat it too. Say you have a bad guy planning to do a bad thing at a specific place at a specific time. Then it's fairly obvious which the concluding scene will be, and if the first scene is designed to involve the players you probably have your adventure right there. You could probably run that after just thinking about the supporting cast and some key locations, and after putting some stats to that you could improvise the rest.

My latest game, which we cancelled due to scheduling problems, was supposed to be some attempt in this vein. I had a starting scene introducing the action, and when a key event happened a NPC would show up, kill another NPC and then I'd let the law descend and see which way the player character jumped based on whom they had befriended before the murder. That way I hoped to tell a story, while giving the players the ability to steer most of the action. Key for me here would be that even if the players did nothing, I could make sure something happened, and if they did take the plot and run with it, I could just throw in that smoking gun and go along with the ride.

Wish me luck herding the cats back together and we might see if it worked!

How to write adventures - I keep talking about scene based design

I'm continuing my thinking on adventure design, and have now come to how I've planned out my Savage Worlds scenarios. Since I've heard so much about how great this game is for cons, I designed scenarios from that. I've listened to how people often use a scene based design to fit in the time constraints, and that fit me perfectly.

So, I wanted to do something with a lot of feel of the X-files. Since I started from that, it was very natural for me to think of a scene that introduce the mystery and then play the intro and then introduce the characters. Since I was not writing a TV-show, I did think up the first part, but we started play when the players entered the plot.

The first scene would utilize the outcome of the background scene as its "bang". So I imagined a miner in this small community being attacked by his whole kennel of dogs, and how his fiance would see it and panic. That was what had just happened. Then I planned on putting the PCs in that small mining town, fill it with NPCs and build scenes from character interaction and some"plot based" scenes that would exhibit more of the strangeness that was the basis for the hounds attacking the miner.

The main plot was that the miners had dug deep into the Appalachians in West Virginia, and uncovered Cthonians. They reacted by psionic mind controls and called in their minions. I planned to have some weird things happening, like the MIB show up and discourage the PCs from snooping, and finally have the fiance disappear only to call someones phone and lure them out into the wilds at night. I had decided that after fooling around like that, I would end it with a scene where the PCs found them somehow confronting "aliens" in a strong light and finally finding themselves with redacted memories in their car out on the highway.

So, how did it go, and how did I used the scene based design?

Well, I started with the players taking control. They came to the town, and started talking to people. I decided to take a cue from Vincent Baker's advice in Dogs in the Vineyard, and started to give away as much as possible from all the NPCs. Vincent is wise, for without that they would have stumbled!

Talking to the NPCs, the characters were set in a location, some people were there and that was often the extent of my scene framing. I did not include any "bangs" or any destabilizing events into those interpersonal interactions.

In between those I dropped some small bombs in the shape of scenes with not only location and people, but also destabilizing events. It turned out that those scenes which all had things happening they had to react to did work really well. I totally failed to make one of them a chase scene with the Savage Worlds chase rules, but that was only me at odds with that rules set, and I've posted about that in other posts.

Worth noting here is that I did not introduce any shakeups in the "interview" scenes we had. Maybe I should have, because I sometimes felt that all those individuals with cool stories to tell had to walk up to the player characters more often than being sought out. It might be something that is dependent on how proactive your players are, but I did take that with me to my next attempt. It was my greatest lesson from this kind of adventure design.

Then there was that about how to string scenes together. In this scenario, which I called "Deep Calls to Deep", the players had the choice of going where they wanted and talking to whomever they choose. That kind of made it very natural for me to toss in my bombs after they had learned stuff which would make the next thing happening feel more cool. It made for a fairly natural flow, I would think.

All in all I think it went well, and as far as I understood from the after game chat I had nailed the X-Files feel. Nobody ever got any hint it was a Cthulhuoid menace.

But, what could I make different, and better, the next time? I will talk a bit about stringing scenes together next time.

How to write adventures - I keep talking about location based design

So, what were my experiences from Location Based Design for my adventure?

I had decided to play a game of Mutant, one of the earliest games I ever played for any extended time. It's a BRP game, which really looks a lot like Gamma World. Mutated anthropomorphic animals for the win! Thanks to those qualities I could inject lot of humour and jokes about contemporary events.

The backstory say that some kind of catastrophe occurred, and humankind escaped into subterranean bunkers, and only ventured outside when long time had passed. Knowledge of the old times have faded, and now mutants of all kinds roamed the lands. I decided to make the PCs all be part of a secret project to develop psychic powers, and they had all been put to cryogenic sleep. Now they wake up, with hazy memories and can explore the setting with no preconceived ideas, as they knew as much as their characters did.

 My location was a small village, with a sawmill powered by an artifact from the Old Days. The village was basically ruled and run by the robber baron that owned the artifact. I made up a few enemies of his, some shops and people in the village and let the players loose.

Like I wrote about yesterday I had the map, the location in question. The threat I envisioned was the tension in the village between the rich ruler and his "subjects". In order to make it something the players could not just ignore I also invented an NPC with a personal vendetta against the baron, and a timeline for how it would play out.

So, how did it work?

The biggest problem I think was related to the reasons for the PCs to be there. They woke up, and some mutated badgers brought them to the baron and the basically followed along. While they did walk around a bit, they never did take strong action for or against any of the sides in the village. I think I learned that the threat has to be immediate, and personal. If you have very pro-active players they might make things up for themselves, but I think having a clear, threat, is a good idea. It's first now when I look back at it and try to formulate what the components were that I settled on that term.

I claim this is one of the basic forms of design for an adventure. Some call this fish tank or sandbox. I'd prefer to shine the light on the Location. Why? Because a sandbox is just a somewhat flat area, of a common material. I think a location based adventure has to be much more, and that's why I never have had much success with "sandboxes". A Location has to be strange, worth investigating and exploring and there has to be a clear threat looming large and personal. At least that's the theory.

Next up I'll take a closer look at the Scene Based Design.

How to write adventures - some attempts at consolidating ideas

I've listened to quite a few podcasts  where the topic have been how to write convention scenarios. That combined with my experiences running Savage Worlds and my post apocalyptic game have resulted in some conclusions. At least I think it's conclusions. But, naturally, I will probably keep thinking on the topic, and probably keep posting new ideas. Now I felt like summarizing somewhat.

I think I've found two ways to write adventures. There might be more ways, but these two have worked for me, and I felt like taking some note of what parts were needed for the machine to work.

First off, Location Based Design.

For this to work, you need two things.

1. A map
2. Threats

The first thing can be a dungeon map, or a map of a city, spaceport or whatnot. It should provide things to investigate, and things to uncover. The second thing can be monsters, traps and NPCs with nefarious plans.

The Location Based Design I think work best when the reason for being there is not based on the location. It should be something that the PCs take with them, a mission or a rumour. For the longevity of this type of design I think that is a key thing.

Secondly, Scene Based Design.

For this design to work, you need three things.

1. Where the scene is set.
2. Those who are present stated up, with intentions and motivations.
3. What just happened, the "bang".

In this case I think the reason for being there is different. Now it should be part of the location. Either it is the place, or the people there, that compels one or more characters to be there.

Naturally, to have more than a very short scenario you will need multiple scenes. The way you string them together can probably be a topic in of itself. I'll get back to it.

I will try to dive a bit deeper into how these two crystallized in my next post, and bring some examples. Anyone having experiences with those two sets of design frames are welcome to chime in. I hope I will better understand my own thinking, and know I have more to learn on the topic.

Summertime

I love summer. Finally some heat for these old bones, and no more of that cloak of darkness that descends over you in winter.

But, I never get to play any games during summer! Since everyone is away on summer vacation it's even harder than usual to get people together. I hate it.

So, I sigh and read games, not play them. It makes it hard to write anything inspired here, since I lack the input of real play.

But.

How about this idea.

A big starship has crashed, and sits there with the nose buried in the soil, smoking. The imperial marines are sent there, in case the aliens are hostile, since it's clearly a warship. But, something is leaking out, into the soil. It's the aliens reality leaking...

Things are about to get interesting for our brave team.

Maybe I'll type it all up.

Old Traveller adventures - the emptiness of space

I recently bought the Mongoose edition of Traveller, as you might remember me mentioning before. It is a good game, and a fun read. Now I have brought som eof my other Traveller stuff out of storage as well, browsing it since the mind is full of Traveller anyway. You know what? I think I'm seeing a trend in these adventures.

A classic Traveller adventure is describing a locale, either a space ship or a planet. There is usually a task to be done, and some hindrances in the way.

Does that sound familiar? I noted another thing. Quite often the party is stuck in this research outpost, APC, starship, desert, jungle, whatever and need to use their tools to get out alive. More often than not there are rules for how to handle the environment and/or the technology at hand.

I'm missing something.

This setup there's the party, and this locale. That's it. Who the hell are you supposed to interact with?

If you look at classic D&D adventures, there are always NPCs. Remember Lareth? Remember the nutty lich in D2? Remember the zoo of factions in the Caves of Chaos? Space is empty in comparison.

I think I've found out why I so often fail at making science fiction games fun. Space just is too big, cold and empty.

Scenario design according to Dennis Detwiller

I was listening to the Unspeakable podcast, a podcast about Call of Cthulhu, and noted Dennis Detwiller had some guides for scenario design.

He suggested
1. having a situation
2. a plan for what would happen if nobody else got involved
3. outlines for all the different ways you could investigate and interact with the situation and sketch possible results from that.

It sounds like pretty good advice. Maybe it's all old news to you, but it made me think how it could apply it to some different kind of games and not only Call of Cthulhu.

How about a little gonzo with that soup?

I just watched Hidden Power of Dragon Sabre from 1984, and it must be one of the most nonsensical movies I've seen.

There are a big mountain with bottomless holes, corridors which looks like a spaceship, laser bolts and odd things happening when you pull random levers. It's just like a dungeon of the wilder kind.

Could you use this in a rpg?

One thing I thought about was how a manual of martial arts secrets are copied onto the walls of a cave, which is then guarded. Then there are the two magic swords which are guarded by a secret society. Finally there is this weird effect when the antagonist manage to get all the weapons and learn the secret art. Then he "unifies the yin and yang" and becomes a half woman and half man creature with awesome magic power. Doesn't that sounds a bit like a rpg?

For those of us who have been thinking about what kind of treasure to provide in our game, maybe the idea of a secret combat art could be a neat treasure? I have no idea how popular the ability to be both male and female at the same time would be in the general gamer populace. Otherwise that might be a treasure in itself. Hey, you could always use it as a curse!

I anyway think the idea of hidden space ship corridors, lasers and plexi glass swords are too cool not to include in a game.

A new way to use the Ronnies

Since I have had no time lately to devote to even think about designing a game, and the Ronnies always makes me want to try, I have held off the Forge for a while.

The last round had these words from which you had to pick two and had to ignore the rest.

amazon lust chains queen


Can you feel the wheels start spinning? I mean, who will not get at least some imagine in their head from those words? Rob Kuntz have posted many times on his blog about creativity, and I think this is making me think about that elusive quality.

Ron suggests you take two of those words and then start to associate and get the mind roam around those words to get the creative juices going. This set of words I think is extra good at showing how that helps creativity. Talk about loaded words.

How about this as a spur to make great adventures, not whole games?

* amazon & chains - Why are those amazon warriors seem plundering caravans in the Purple Forest? Is there something behind the fact that they just claim all the copper items on the baggage train? Why have they suddenly stopped, after kidnapping the village smith? Are they making chains for something big and dangerous?

What kind of adventure can you make up from those words? I know I have more images in my head I'm not developing here...

[From A to Z in Kalamar] Battle of Kadir Ridge

In the section about the Kalamar empire in the KoK campaign set, under the heading Mountain Ranges, there is a mention of the Battle of Kadir Ridge. Today I'm going to take a look at how to use that in your game.

This is what we know of the battle. The Emperor of Kalamar sough to control the riches of the dwarfs, and marshalled his armies to attack. One of his group of allies were some fire giant chieftains. Then when the battle was won, the Marshall in charge fell upon his allies.

So what can be done with this?

So, both fire giants and the dwarfs have been slighted by this emperor. Both these groups probably want revenge, and the giants wanted something from the dwarfs which lured them into that fateful alliance.

1. The emperor now have in his possession the fabled dwarven warhammer of giant slaying. The very existence of this item is anathema to the giants, who have decided to get it back. What happen when the decoy the giants have used accept the item from the adventurers who have procured it? Will they maybe have investigated a bit and found out about that camp of giants a bit off who are there to receive the artifact? What happens when the dwarfs show up and demand their item? That could be one "fetch this item and earn a bag of gold" adventure to remember.

2. By now the dwarfs and the giants have realized that the Emperor is not to be trusted, and that they have a common enemy. How will the party feel about the idea of earning some luxurious items crafted by dwarven smiths, if they do this small political assassination of a certain Marshall?

3. One day the dwarfs unleash their monstrous automaton they have been building since the day of the defeat at Kadir Ridge (I see before me that steamroller from the cover of module DA1). Maybe the only one mighty enough to stand against it, and it's fire belching powers are a fire giant or three? I bet a diplomatic mission to the giants would be quite interesting for a party in the Emperor's employ.

Hey! Run with it.

Tomorrow we see what can be found in Kalamar with the letter 'C'.

Now, what do they want?

I have been thinking more about different kinds of adventures. I realized that I have played quite a few games, for example Beyond the Mountains of Madness, where there's obviously a plot. Those kinds of game can be horrible, in a bad way, if all you get to do is to look at the NPCs doing stuff.

But, thinking about what makes Dogs in the Vineyard work, I realize it is not only the fact that the PCs are clearly in charge, and have something to do (even though it helps) but one thing that makes a difference is that the NPCs all want something. Maybe even a monster in a dungeon wants something, even if it's just a slice of that pie? BtMoM was about wants.

Not exactly revelations of deep design insights, I know. But, I somehow feel maybe it should be more up front. The first thing you get to know when you see them is what they want, not that they guard that door or treasure over yonder.

Maybe it's just be that suck at NPCs that have finally caught up with the rest of you...

Styles of adventures - weird fantasy style, and others

There lot of different kinds of adventures you can design, and play. I think not all of them have been analyzed or talked about as much as they deserve. Last night I played in an online game with Jim Raggi, and the kind of adventure we played just one of those.

The kind of adventure that most people think about when they hear "old school" is probably the location, or site based, adventure. It sits there, and you can come and go as you like while exploring it. Another adventure is the one where you have a string of occurrences, a time line, and you can interfere with it as you like. Naturally there are more than those two. I think it would be interesting to have a conversation about styles of adventures. Their strengths and oddities, and pitfalls to look out for both when designing and running them.

Imagine this.

You have an interesting location, and some people there. Something then happens that upset the status quo, and everyone of those people there have an interest in using the change to their own advantage. Let's say the player characters wont be happy with most of those developments, but find themselves in a position to have to be the arbitrators between all the different wills pushing and shoving.

Is that old school? When is it not? How do you create such a game if you suck at developing NPCs (Like I do)? How would an expert game master handle a situation like that, to make it smooth to run and enjoyable to play?

I'd love to see more talk like that in the blogosphere.