What Traits Did Your Character's Culture Value (And Discourage)?

Our characters come from a wide variety of backgrounds, cultures, and experiences, and these things often shape them in ways that are just as important as the adventures and campaigns they complete while we're at the table. However, we often hand wave away this part of their stories, leaving them vague and open-ended when we can often end up making our characters far more interesting by digging into that part of their story.

Which is why it's worth taking a moment to ask what traits your character's culture valued and reinforced, which traits they suppressed or avoided, and why that was the case? Because those things can often tell you a lot about a person, and what they consider normal... even if no one else agrees with them.

Night painting emphasizes clear sight, and smooth dexterity.

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What Was Your Normal?

Take a moment and think about the culture you grew up in, and what it told you was desirable, and normal. As an example, I'm American, Caucasian, and I identify as male. I was born into an upper middle class home, and I come from a military family. The messages I received growing up were that height was a key component of my attractiveness, and that I should be strong and muscular. I was told that having a high sex drive was a key component of masculinity, as was a willingness (or ability) to commit violence in appropriate situations. Going to college was very important, and the hallmarks of good grades, social activities, etc., were encouraged to help make that happen. As someone who got into gaming, LARPing, and light historical reenactment, long hair and a well-kempt beard were also seen as desirable, fashionable things for me to have alongside creativity and the ability to sword fight. Speaking other languages wasn't encouraged or valued overmuch in my circles. Emotional vulnerability was sometimes encouraged, and other times strongly discouraged. Physical affection with other men was often unacceptable, and even with femme-presenting folk it often came with a slew of caveats.

The list goes on, but you get the idea.

You could take almost any of these traits, values, cultural assumptions, and find other cultures and locations where if I moved I would have had relatively little to unlearn or change. For instance, I could likely move to Canada, and adapt fairly quickly. I could probably do the same with most places in the United Kingdom. However, there are other cultures and locations I would have been about as comfortable as a fish in the desert. Whether it's the language barriers I would have come across in France, the expectations of gender roles that would have thrown me for a loop in Spain or Greece, or even something as relatively simple as the (to me) complete lack of personal space between people in Russia, all of these things would have thrown my differences into a rather stark light.

Now ask what those differences might be if we were in a fantasy setting where there are at least as many cultures among humans as we have in the real world, but where we also have magic, monsters, and a dozen other species of intelligent creatures that we share the world with, and you can see just how unique this exercise can become.

Things might get... complicated.

Consider for a moment how long archery was the national sport in England. How everyone no matter their age, sex, or even skill, at least understood how to operate and use a bow, with regular practice deemed a normal part of social life. Someone who was "average" under those conditions might be considered one of the best archers anyone had ever seen in a culture where that sort of practice was just not a part of public life. This is similar to how Glima, the wrestling martial art of the Norsemen, led to a not-inconsiderable population that were (by and large) more skilled grapplers than other places that didn't practice a fighting style so commonly. It wasn't some strange, genetic disposition or inherited viciousness; it was just that training in a martial art was often done from a young age, and it was often practiced far into adulthood.

It's all about what is considered normal for you, that is decidedly not normal for other people... and why that is the case.

Let's look at Archbliss: The City of The Sorcerers (available for Pathfinder Classic and DND 5E) in my Sundara setting. It's a floating city in the sky ruled over by an aristocracy of sorcerers, and where a majority of the population has access to magic. Even if an individual cannot use magic themselves, they would still have grown up with it constantly available to them, and an important component of everyday life. As such, an education about magic, spellcasting, proper use of magic items, and other such skills and abilities, would be emphasized for those who were raised there. But if these people left Archbliss, they'd find that many other places don't rely so heavily on magic. While mastery of it may still be useful, a person born with no inherent spellcasting, and who may lack the intelligence to become a wizard, wouldn't be shunned for that "failing". After all, to their eyes, only one in a million people might manage what would be considered an everyday feat in Archbliss.

Or consider the Malisus, a unique elven people who live deep in the ground found in Species of Sundara: Elves (available for Pathfinder Classic and DND 5E). The Malisus's cities are often built from stone and bone, and while this is a matter of practicality (since trees don't grow underground), their faith is centered around the rituals and acceptance of death. As such, their outlook is often macabre to outsiders, and they are extremely comfortable near corpses, bones, graveyards, and other such things that would be considered taboo to other cultures. The Malisus value grace and quiet, as being able to move stealthily is a necessity of survival in the underground, and those who cannot see in the dark are often looked on with pity. If they were to move among peoples who are loud, brash, and (to the Malisus) unobservant, it might seem as if these dark elves simply appeared from nowhere, because "quiet" to an overlander is like stomping through the undergrowth to the finely-tuned senses of many of the Malisus.

Lastly, consider someone steeped in the culture of Moüd, The City of Bones (available for Pathfinder Classic and DND 5E). The City of Bones is a place deep in a blasted desert, lorded over by a guild of necromancers, and whose very existence is made possible by use of the reanimated dead. So while some cultures might consider necromancy a great taboo, or an outright evil art to practice, in Moüd it would be an honored profession. While there are certainly moral and ethical concerns if the art is used improperly, the culture of this city typically views the use of this magic in service to the living as an overall good. So while a person raised here might not be pressured to become a necromancer themselves (though it would be considered a prestigious skill set and career), they would be quite familiar with the undead in general in ways that other people simply wouldn't be. The idea that particular duties that were previously done by the living dead (cleaning the city streets, patrolling hostile wastes, handling various menial tasks, etc.) would be done by living people might even horrify them... especially if those living people were kept as slave labor because the job still needed to be done, and that was the solution another culture found to the problem.

Sometimes It's The Little Differences

While the examples above highlight some pretty stark differences where a culture or people might be very different, you don't need the differences to be that large. For example, did your character come from a society that valued logic, reason, and scholarship, considering brute strength and violence to be a sign of a failed mind that one would be shunned for if used to win an argument? If so, were debate, legal trials, and so on considered proper ways to settle public differences, possibly watched with the same enthusiasm others might feel for watching sporting events? Or was dueling with blades the way differences were settled where your character came from, and every free man or woman was expected to carry a knife on them at all times as a sign they were neither a child or a slave?

Once you know the norms, traditions, and so on of your character's culture, you can then ask how they fit, or didn't fit, those norms. For example, if tusk size is considered a mark of attractiveness among the orcs of the high valley clans, does your orc carefully polish and clean their teeth before going into town, perhaps putting on silver or gold caps? Or is your orc sensitive about the relatively small size of their tusks, considering it a punchable offense if someone brings it up to their face? Was speaking multiple languages and traveling considered a normal part of your life growing up, and a sign of intellect and experience, or do you come from an insular society where such things are discouraged, and where outsiders are rarely encountered?

All of these things can make a big difference in who your character is, and what they believe about the world around them. Even if they've since left the cultures they grew up in or were shaped by, and they've experienced other walks of life in other places with other peoples, these formative views, taboos, beliefs, and traditions might say a lot about the forces that shaped them. From how your character dresses, to how they talk, to what they believe is attractive or unattractive, to what skills they learned, or even how they think of themselves, you can find the answer to all of these and more in the culture that first shaped them.

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The Convert (A Cleric Concept)

Tarmujan peered at the figure approaching his ramshackle throne. The bandit lord's scarred face seamed, and then recognition dawned on his face. He laughed; a cruel sound that curdled in the ear, but which was echoed by the "court" of brigands who ranged out in a half circle from where their leader sat.

"Do my eyes deceive me?" Tarmujan asked, standing and drawing the wicked blade at his hip. "Or has the child of light returned to me again?"

The young man didn't respond. His robes were torn and ragged, crusted with blood. His lank hair hung in his face. He was no bigger now than when he'd been cast out into the waste to die, but there was something different about him. Iron stiffened his spine, and there was a determination in his steps. Some of the bandits recognized it, scenting a change in the wind like wild dogs sensing a coming storm. They weren't sure what was happening, but they took a step back all the same.

"No last words?" Tarmujan shrugged, walking forward, drawing his blade back for a swing. "You had your chance, boy."

The young man snarled a single word, his voice ringing with a primal power. Cracks ran along the length of Tarmujan's blade, and then the carefully honed steel exploded. The bandit lord roared in surprise and pain, shards of metal piercing his neck, his arm, and blinding him in one eye. He cast the hilt aside, snatching at the dagger in the small of his back. He roared as he charged. There were no more words, no more bravado, just the primal, killing frenzy. The young man smiled, and Tarmujan's dogs drew back from that smile. It was a hideous, hateful thing, and it seemed an anathema on the face of the pacifist priest.

What happened next was incomprehensible to those watching. The slender figure grabbed Tarmujan's arm, stopping it in mid-swing. No matter how hard he strained, he could not move the blade an inch closer to the priest's body. He punched at the young man, but the solid, meaty blows did nothing but bloody his smile. The priest bent Tarmujan's arm back further, and further, until something snapped, and the bandit lord screamed again.

The priest didn't stop until every part of Tarmujan was broken. When he stood, blood dripping from his hands and seeping into his robe, the bandits drew back in horror. Carved into the young man's forehead was a symbol they had only seen among the roving packs of wasteland monsters; an unholy mark that promised death, dismemberment, and destruction.

"You left me in the wastes," he intoned, his voice strong, and his eyes unblinking. "There was no light there. No hope. No peace. But there was something else. You showed me the path to my new lord. So I offer you all this one chance. Step forth, and have your eyes opened... or have your bones added to his throne!"

I have seen what dwells behind the flesh, and it is destruction.

The Convert

When you think of a cleric, you tend to think of someone with a deep, abiding faith. Someone who has a personal relationship with their patron deity, and who strives to embody the ideals of that deity. You know, stuff I covered in my 5 Tips For Playing Better Clerics. However, there are times where even the gods make mistakes, or where an individual can no longer abide the creed of their god.

If a cleric breaks faith with their deity, they sever their ties to the powers granted by that deity. However, that doesn't mean another god will not hear their prayers. That another god may offer them exactly what they ask for, as long as they will bend the knee, and serve the new patron's requirements.

No one wishes to hear my word... tell them anyway.

This might be similar to the story that opened this character concept. Perhaps a servant of a god of light and mercy is pushed too far, and in their pain and rage they spurn that deity for a new patron. A god of destruction, strength, and vengeance who not only allows them to deliver retribution, but gives them the express power to do it. Alternatively, a champion of a dark god or evil cult could stray from that path of wickedness, attempting to become a servant of a god of justice, temperance, and righteousness. A progression that isn't too dissimilar from The Risen Antipaladin.

It is also important to remember that the change in a convert doesn't have to be so extreme, either. Additionally, it can happen slowly, gradually influenced by that character's actions over time.

For example, say you had a reluctant cleric of a god of war. They're trained in combat, and adept at strategy, but they tend to focus more on healing the wounded than in getting into the thick of battle. While a necessity, they may grow tired of the sight of fighting, and of the wounds it inflicts on so many. This could lead them to slowly pull away from the patron of warriors and soldiers, and instead seek induction into an order of healers. They might fulfill the same duties, and have the same role within the party or campaign, but they've found a god who is more suited to their personality and skills.

You could, of course, do that in reverse and have a medic who gradually becomes a warrior with an iron-shod staff as adept at smiting the enemy as they are at healing their allies. It's all about the journey you want your character to take, or how the story pushes them.

How Long Is This Going To Take?

Something I would recommend for this character concept is to have the conversion as part of their existing background before the game starts. This option works best if you're starting the game above 1st level so that your conversion is part of your character's Small Legend (more on that in Character Reputation in RPGs: The Small Legend), and you can enjoy the story element without dealing with mechanical bumps in the road. You could run into people who knew you as a servant of your old faith (for good or ill), people you once served with, etc. This could be particularly poignant if you are helping the party fight against your old faithful, or if there are sore feelings between yourself and your former brethren of faith who now consider you a heretic or a blasphemer.

If you're going to have the conversion happen in-game, though, make sure you talk to your GM beforehand and work out a situation that you're both happy with regarding potentials for cleric conversion down the line.

The reason I say this is that I've seen far too many GMs who want to treat this as an excuse to punish a player, rather than reward them for having an interesting story. Setting a penitent quest, or forcing the cleric to play for a dozen sessions with no spells, no domain powers, and no patron is just frustrating, both for the player and the rest of the party who depending on their cleric to carry their share of the load.

No one wants to carry your dead weight.

My personal recommendation is that, as a GM, you should have interested gods keeping an eye on the cleric in case they want to poach them from their current deity. There aren't that many mortals who can wield that kind of power, after all, so when one is suddenly open to adding their strength, will, and hands to the cause of a new deity, it can only help that deity to make the offer when the cleric is vulnerable to their sales pitch.

In this case, you're not looking for the cleric to prove themselves to a new god; their actions, beliefs, etc. should already have done that; you're simply looking for an opportunity for that new god to offer to take the cleric into their service, and for the cleric to accept the offer.

Maybe it happens in the midst of battle, when the cleric feels another influence on them offering powers that could save their allies, and crush their enemies. You might even go through the whole scenario of the cleric losing their powers, and dealing with that loss, before another patron comes to call when the cleric is grieving and vulnerable. Maybe it's in a dream, perhaps they're approached by a strange figure, or they find themselves near a shrine they didn't know about. They might have followed a glowing white stag into a forest clearing, or met a shrouded servant of a trickster god, but the point is that this should be a new chapter in their character progression. Make it exciting, make it meaningful, make it personal, but don't drag the player over concrete, or reduce their ability to participate in the game, because they wanted to use conversion to a new deity as a plot point in their development. Facilitate the transfer of power, and the cleric's new management, so they can get back in the game!

Your cleric player (and the rest of the table) will thank you.

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That's all for this installment of Unusual Character Concepts. Hopefully this one gave you something to chew over, whether you're a player, or a game master.

For more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my alley cat noir novel Marked Territory, my sword and sorcery novel Crier's Knife or my most recent collection of short stories The Rejects, then head over to My Amazon Author Page!

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How Do Your Characters Sleep (And What Does That Say About Them)?

Ergoni woke with a sudden start, her eyes shooting open and her muscles tensing. The smell of wood smoke filled her nostrils, and the quiet breathing of her companions mixed with the sound of crickets rang in her ears. She uncurled her fingers from the hilt of her sword, and let her jaw relax.

"There is nothing in those woods that means you harm," a soft, gravelly voice whispered. "Go back to sleep. I will wake you at dawn."

Ergoni rolled over, squinting against the firelight. The hulking figure silhouetted against the flames had blued-steel skin, with hair the color of soiled snow. The naked blade across his thighs glimmered dully. She'd never once seen the sword sharpened, nor seen its owner rest his eyes.

"I could watch," she said.

"No need," Cithaugua said. "Though if you wish to keep me company for a time, I could make tea."

It does get lonely, some nights.

How Do Your Characters Sleep?

Sleeping is one of those universal experiences we all have out-of-game, and it's something we often hand-wave in game. After all, as long as a character receives their 8 hours of rest for the purpose of regaining all their abilities, healing, etc., most of us don't really think that sleep is all that interesting. But like a lot of other elements, as I mentioned in What Do Your Characters Eat? as well as Why Does He Do That ? (Thinking About Your Character's Habits), those little mundane things are often where you find some of the most memorable impacts.

Just one more cup... I want to finish transcribing this scroll before dawn.

The most obvious place to begin with is to ask whether your character has some ability that renders their sleep schedule completely unique, and thus makes them unusual in the world (or at least in the party). In Dungeons and Dragons 3.5, for example, elves didn't truly sleep; they simply meditated in a trance for four hours or so to refresh themselves. In Pathfinder there is an alternative tiefling trait that says the character never has to sleep, though they may sleep if they wish to, or can be forced to through magical means. Pathfinder also has traits like Awakened From Stasis that state a character was kept in a kind of cryo-stasis for years, and one of the effects on their system is that they only sleep for 2 hours a night with no ill effects. I even wrote a trait for the game in Bastards of Golarion, Rest For The Wicked, that allows a character to heal rapidly from ability damage while they sleep.

Once you know the mechanics of how your character sleeps (or doesn't), the next question to ask is what kind of sleep they get, and how it affects their lives.

For example, is your character used to roughing it in the outdoors, able to curl up on roots or in a cave and awaken refreshed and ready to go the next day? Or are they the sort of character who at least needs a bedroll and a pillow made from their folded cloak in order to get any real rest? Alternatively, is your character so inured to the trail that a bed is just too soft for them, and even at an inn they have to curl up on the floor, or sleep out on the balcony in order to have a familiar-enough environment to nod off? Or do they travel with a cart or wagon, allowing them to bring a little bit of civilization out into the wilds with them?

I swear, I don't know how those lords in their castles ever manage real rest.

The last thing you should ask is what kind of sleep routine your character has, and what sleep means to them.

For example, does this character pray before sleep, or conduct any other sort of ritual? Are they an early-to-bed, early-to-rise sort, or are they used to standing the third watch so they only get really sleepy around the time the first gray light of dawn peeks through the trees? Do they drink a particular blend of tea to help make sure they get good rest? Lastly, is this character's sleep quiet and restful, or challenging and full of terrors?

Night terrors are surely common among adventurers (especially those with the all-too-common backstory of seeing their parents murdered before their eyes when they were children by ogres, trolls, and other monsters), but it's far from the only sleep-related condition a character might find themselves dealing with. Characters who've come into contact with potent magic items, or who have a grand destiny before them, might have recurring dreams on the subject. Those with mysterious magic, or inscrutable patrons, might receive visions and commands in their dreams to provide guidance to their actions (and you might find 100 Random Oracular Pronouncements quite useful if you're looking for phrases for someone to remember upon waking).

You might even have something as simple as a tendency to sleepwalk, necessitating precautions before you turn in for the night.

Explore, and See Where It Takes You

The oddest details crop up in the most mundane places, and sleep preferences can say all kinds of things about a character. For example, the career mercenary who sleeps in her armor and just rolls herself up in her cloak might just be doing that out of habit, or it could be a metaphor for how even when she's unconscious she's not leaving herself vulnerable. The wolf druid might have trouble sleeping alone, always trying to curl up to others for a sense of community and protection, reassuring themselves that they're safe so they can fall deeply asleep. And the former bandit might come awake at the slightest change in the ebb and flow of the natural world around them, on their feet and ready to fight before even those on watch know they're being attacked.

There's a lot of potential in this area... so poke around, and see what comes out as a result!

Also, if you're looking for more nocturnal inspiration, check out 100 Dreams and see if anything in it speaks to you.

Like, Follow, and Stay in Touch!

That's all for this week's Fluff post! If you've used this in your games, share a story down in the comments!

For more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my sword and sorcery novel Crier's Knife or my recent short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

Before You Start Your Campaign, Know Where You're Going

Being a DM is a lot like being a novelist. While a lot of the methods those of us behind the screen use may be similar, we each have our own process when it comes to how we make the magic. And, as long as the game that's being produced is enjoyable for both the DM and the players at the table, then whatever they're doing is clearly working.

With that said, writing a campaign is like writing a novel in another way. There comes a point where the story needs to reach a logical conclusion. And before anyone sits down at your table, you should have an idea of where that end point is... or at least which events precipitate it.

Then they awaken the sea giants... form a pirate fleet... and... ugh... become kings?

Story Planning Saves You A LOT of Headache

One of the common DM questions I see on forums, and occasionally get asked by readers, is what they should do to end their campaigns. Typically they've been going on for a long time, and the DM wants to wind things down, or is tired of running, or can't think of where else to take the story. And every time I ask, "What was the end goal of your campaign?" the answer is always a confused, "huh?"

A story is like a road trip. Sure, part of the fun is the journey itself. The roadside attractions you stopped at with your friends, the greasy spoon with the unforgettable pancakes, and that time you had to sleep in the car because you couldn't find a decent hotel for fifty miles. But the reason you all piled into the wagon in the first place was because you wanted to go to the far shore, and witness the great Battle of the Bands in the desert wastes among the Burning Men. That was the whole impetus of the trip, and why you're all out there in the first place.

Some of them were burning before the show... all of them were burning after it.

Your campaign needs that same, underlying structure. Yes, it should be about the PCs, and their specific achievements, but if all you're doing is following them around while they do whatever they feel like, it can be terribly unstructured and chaotic. And, unless you're a masterful DM and world builder, it can quickly lead to things falling apart, or getting ridiculous. The efforts of the PCs should be bent toward achieving some goal, or doing some great thing. Defeating the monster, finding the macguffin, solving the mystery, etc., etc. You need to be going somewhere with it, otherwise you're just driving on the highway until you run out of gas.

Smaller Arcs Build To Big Crescendos

A piece of advice I would give to DMs who have trouble picking up speed to hit a solid, definitive end is to build your campaign sort of like a Russian nesting doll. Pick a small arc that achieves something, and tells a definitive story. Like the classic, "Oh no, this town is about to be overrun by zombies!" scenario where a low-level party defeats the undead, and then slays the necromancer that summoned them. An arc that has a definite beginning and end, and whose purpose is to solidify the party, and to give them a big win.

Now, you could end the game there if people wanted to. That would be a really short campaign, but you could do it. If the players want to keep going, then you go into the next arc. Perhaps it turns out that necromancer was merely one member of a greater cult, who is now focused on the party for their part in disrupting a greater overall scheme. Now the party has to uncover who is in this cult, what they were doing, and stop the individual leaders. Once that arc is complete, the party will be mid-level, and will have achieved a greater victory. If the players want to continue, they now have to uncover the secrets the cult was attempting to glean from ancient ruins, facing a potent lich who has been trapped and bound for centuries in the blackness of his own, buried citadel. If the party succeeds, then the curse has been well and truly broken, and the land above can sleep easily.

And with a final cry, the ruins fell silent.

Now, seen from a bird's eye perspective, your ending point for this campaign is going toe-to-toe with the CR 17 lich. In order to get the party to that point organically, you provide them with self-contained arcs that act as stepping stones. Each one is a building block leading to that final point, like smaller books in an ongoing series.

Could you concoct another, even grander arc after the ancient lich for your party to face if they wanted to keep playing the same game, with the same characters? Yes, you could. However, you need to ask if you should. Do you have the necessary skill as a DM to handle a party with the resources of that level? Is there a story you want to tell that requires that amount of power? Are you engaged, as the DM? Because it's better to end a campaign on a high note, with the players wishing there was another chapter to go, then it is to just peter out, wandering from brawl to brawl with no real purpose in mind until enough people lose interest.

Or, put another way, flare up brilliantly, and end definitively. Don't fade away.

That's all for this week's Moon Pope Monday update. If you'd like to help support Improved Initiative, then Buy Me A Coffee, or for long-term support, go to The Literary Mercenary's Patreon page. Every little bit helps, and even $1 a month gets you some sweet gaming swag as a thank you. If you'd like to see more stuff from yours truly, then check out my Vocal archive, or head over to the YouTube channel Dungeon Keeper Radio. Lastly, if you want to stay up-to-date on all my releases, follow me on Facebook, Tumblr, and Twitter.

Remember, The Party is Under No Obligation To Adventure With You

The world was reduced to a wasteland while they slept in a strange stasis. Ever since they'd awoken, and begun exploring the ruined expanse, it had been one life-or-death battle after another. Paranoia had begun taking hold, and the slightest sound made them jump, hands on their weapons.

So they were understandably unnerved when the stranger walked out of the shadows, and into their camp, as if he had every right to be there.

They tried to be as courteous as the savage land allowed them to be. They asked the stranger his name, and he told them a word in a language they could not speak. They asked him his purpose, and he gave them a shrug of his shoulders, and offered a platitude that did not answer any of their questions. Losing patience after going round and round with the interloper and getting nowhere, Brazen Red-Eye thumbed back the hammer on his widowmaker, and asked the stranger a more pointed question.

Why did he think the party should let him live?

Take your time answering. You've got the rest of your life.

This scenario actually happened (though it didn't make its way into Brazen's saga, which began with Why You Should Never Field A One-Eyed Dragon), and it represents a problem that every DM I've ever talked to has run into. Namely, a player who thinks that just because their character is a PC (and thus one of the main characters of the story) that they are automatically a part of the campaign as soon as they walk on the scene.

Consider this post a public service message, because it's important to remember that the party can refuse to adventure with you at any time, for any reason.

But I'm A PC!

Let's say the party took on an NPC cleric to help them in their quest. However, this cleric demands special treatment, lords their powers over the party, is confrontational about every decision they make, and withholds treatment until injured characters have begged them for aid. That's annoying, but it's the sort of behavior the party might be willing to put up with until this particular dungeon is cleared, and they can drop the cleric back off at the town.

Now ask what the party would do if the cleric stole their loot. Or got in party members' faces, and threatened them. How long would it take for the party to cave in that NPC's skull, healer or not?

He won't feel a thing. It will be just like a tent stake, but more satisfying.

If players won't put up with any nonsense from NPCs, why would they do it for another PC? As far as the story is concerned, all characters are created equal (which is to say the party doesn't have big, red arrows over their heads marking them out as player characters, and therefore important). As I mentioned in Let Them Reap What They Sow (Actions and Consequences For PCs in RPGs), player actions have consequences.

Sometimes the consequence is that the rest of the party says, "You're a bigger liability than you are a help. Take your share of the loot, and go on your way."

Whether you brought a kleptomaniac murder machine to a party that would rather not have bounty hunters dogging their tail, you betrayed the party to save your own skin, or you just won't get up from the bar and actually introduce yourself, the party is under no obligation to seek you out, pick you up, or keep you around.

Think of the party as a business. You all agreed to work together to grow this endeavor, and to get the job done. However, that means everyone needs to show up Monday morning with a mug of coffee in their hand, a glint in their eye, and ready to go to work.

A Little Ambition Goes A Long Way

How do you stay in the party, you might ask? Generally speaking, as long as you follow rule one (don't be a dick), you shouldn't have anything to worry about. But if you want to lock in your spot at the table, there are a couple of extra steps you can take.

Assuming, that is, you want to endear yourself to the rest of your crew.

The first, and easiest, thing you can do is to make your PC so that they have a pre-existing relationship with at least a few other people in the party. Maybe you once served together in the army, you went on a previous adventure before you parted ways, or you were childhood friends. You might even be related, if you're going for the low-hanging fruit. This eliminates that awkward, "So, uh, I heard you guys are going into the Kataph Ruins on a secret mission. Got room for a fifth wheel?" conversation that sometimes happens when you try to bring in someone new.

The second thing you could do is remember that you're all co-workers here. Whether you have previous connections or not, establish a rapport with your party members. Figure out common ground, common goals, and find a way to work together to get the job done. Sure, you might be at odds over your methodology, but just because you want to summon a small army of the walking dead, and the knight wants to ride out to meet the dark champion in single combat, you both want to make sure that demon legion doesn't wipe this city off the map. You need to be on the same side, and trying to solve the same problems, instead of fighting each other.

Third, make sure your character is useful. Characters should be interesting, and involving, but when it comes right down to it, becoming part of the party means you're there to do a job. So you need to bring your A game, and hold up your end of the bargain. Whether you're a sworn sword there to keep your allies safe, a gun for hire, a wizard who specializes in bolstering her companions' resistances, or an expert archaeologist whose familiarity with treasure maps and deadly traps is unsurpassed, make sure you do your job, and do it well.

If you can do all of these things, then your allies will go all the way to the wall to keep you as a member of the party.

That's all for this week's Moon Pope Monday post. Hopefully some folks found it interesting, or at least thought-provoking. If you'd like to help me keep Improved Initiative going, then stop by The Literary Mercenary's Patreon page to become a patron today! All it takes is $1 a month to get yourself some sweet swag, and to help me keep making content just like this. Lastly, if you haven't followed me on Facebook, Tumblr, or Twitter yet why not start today?

Tattoos and Scars... What Do They Say About Your Character?

He didn't look like much. A little on the tall side, rangy instead of really skinny, the man was dressed in a simple jerkin and breeches. He had a leather cuff around his left wrist, and a little gray at his temples. A halfway decent hostler, the horses liked him well enough, and so did their riders. The Merrick boys marked him as an easy target, and when no one was around they tried to snatch his strongbox.

He objected.

Rather firmly, in fact.

The first of the young bullyboys got off easy; in a few months he was able to walk, albeit with a pronounced limp. The second doesn't do much but sit in a chair on the porch and stare off into space with the one eye he has left. The third one hasn't been seen since he ran off into the night, bloody and crying.

It was too bad none of them ever saw the hostler wash his hands. If they had, they would have seen the tattoo on the back of his wrist, and walked wide. Only a fool would have tried a man who bore the mark of a Black Eagle Legionnaire.

Before we go too much further, if you're looking for some more examples to get your creative juices flowing, check out 100 Fantasy Tattoos (And The Meaning Behind Them)!

Tattoos and Scars

A character's appearance, whether it's in a novel or an RPG, uses a certain visual shorthand. Sure, we may give our fighter a greatsword because it's a big damage dealer mechanically, but it also says something about his strength and skill. A character who wields a rapier, a whip, or a spiked chain may be taking advantage of abilities that let them attack with their dexterity, but they're also letting people know where their true skill lies. It might also be an easy way of letting people know about their personalities. Because while you can have a charismatic bastard sword fighter, or a reticent swashbuckler, those weapons tend to be associated with certain types of wielders.

The marks character bear also add to a character's story. Even when they don't provide any mechanical bonuses.

If you ever see a shaman with a full-face tattoo, though, I'd be on your best behavior.

 

Before you choose the kinds of marks your character bears, you need to ask what the message you're trying to send is. Because looking cool, or being visually distinct, is fine... but it helps to know the full circumstances behind the character's unique marks, and how they effects that character's life.

Gaspar Dell'amore, the Black Rose of Edme, for instance, was born with a unique mark on his left hand. A black rose, this birthmark could have been written off as little more than an accident. It wasn't, though. In fact, the knowledge that the mark was attached to a certain goddess shaped Gaspar's view of the world. It pushed him in a certain direction, and made him decide what he would stand for. He could have been any number of things, but that mark was one of the factors that turned him into a bare-knuckled enforcer, whose chosen enemies were tyrants, and who surrounded himself with revolutionaries.

Your character's marks don't have to be that dramatic, though they certainly can be. If you're looking at scars, for example, a ranger who's hunted big game might have claw scars across his chest and shoulders from when he had to kill a bear, or a tiger, with nothing more than his knife. A former gladiator might still bear the brand of her previous owner, hidden so other people won't know she was once property. A self-taught evoker might have burn scars along his hands from early mistakes made with fire. A former bandit might be missing fingers, or have certain marks scarred into her so everyone knows what crimes she committed.

Not all body modification is bad, though. In fact, some of it we actively seek out, and pay enormous prices for. For example, does your tribe require you to undergo tattooing as a test of adulthood? Did you get drunk with your shipmates, and you all got your flag tattooed on you? Did you get inked as part of an initiation into a gang, religion, or other organization? Are you still proud of that mark, or have you tried to turn your back on that decision with time and wisdom?

Make Yourself Part of The Lore

The marks your character has, whether or not they were willingly acquired, should make them feel more real. Whether it's how the fighter got his nose broken defending the party from the bugbear, or the triple set of ear rings the bard acquired when he got drunk as part of the victory celebration for fighting off a goblin invasion, you should know when, where, how, and why your character has these marks. You should know if they have any meaning, as well.

Because there's nothing more fun than mentioning one of your character details, and asking someone to roll a knowledge check to figure out what it means, or where you got it. Because just like an exotic fighting style, unusual weapon, or rare brand of magic, your tattoos and scars can speak volumes about who your character is, and where they came from. They can make you a true, organic part of the world you're playing in, and that is no small feat.

Of course, there's nothing that says you can't get a mechanical bonus from your birthmarks, scars, and tattoos. But not getting a mechanical bonus shouldn't discourage you from holding onto the unique look such body modification provides.

That's all for this week's Fluff topic. Hopefully it inspired some folks out there, and entertained everyone else. If you'd like to help support Improved Initiative so I can keep bringing you topics just like this, you should stop by The Literary Mercenary's Patreon page and become a patron. As little as $1 a month can make a big difference, and it nets you some sweet swag as well. Lastly, if you haven't followed me on Facebook, Tumblr, or Twitter yet, well, why not start now?

The Defining Moment: An Easy Way To Get A Grip On Who Your Character Is

Before I get to today's topic I'd like to take a second to remind all my readers that May is National Short Story Month! If you'd like to dedicate some of your reading time this month to taking in some short fiction, then might I recommend my recently released collection of steampunk noir New Avalon: Love and Loss in The City of Steam!

The first two stories are free, go take a look!

Anyway, now that I've done my duty as an author and informed you of that, let's get on to today's topic, shall we?

Who is Your Character?

We all know certain things about our characters. For example, we know how strong and smart they are, along with how wise and how charismatic they tend to be. We know what their classes are, and we know what skills they excel at. If you want to use the random tables you can even figure out their ages, heights, weights, and other personal statistics with the rolls of a few dice. You probably have an idea of what they look like, and you know what gear they're carrying.

But who are they? Beneath the broadswords and longbows, and behind the gray eyes and con scores, who is your character?

And what in the HELL is he DRINKING?!

Now, chances are good that when you bring a character to a table you have a few, broad strokes about who they are figured out. For example, you have a pick-pocket who grew up in the dock ward. She pretended to be a boy until she got too old for that to work, and then supplemented her income with burglaries and other crimes. She joins adventuring parties as a way to make money without having to worry about looking over her shoulder for the law, since stealing from dragons and aeons-dead sorcerers is hardly stealing.

Whether you're a glory-seeking barbarian warrior, an erudite master of the arcane, or a pious wanderer seeking to heal the sick and help the needy, you've got a basic archetype you can fill. For some players, though, getting past that cardboard cut-out can be troublesome. After all, what more is there to Brand Savage, Warden of the Kingswood, except that he's a ranger who likes the peace and solitude of the forest, and wants to serve his king and country?

Well, there's...

The Defining Moment

Think about where you are in life. Think about what your job is. Or your passions. Why those things? What led you to choose those paths over anything else you could have dedicated your life to? Chances are good you can think of a particular event that stands out in your memory that acts as a signpost for that particular decision.

Those things are defining moments.

Sometimes a man's gotta do, what a man's gotta do... or something...

Again, character flavor works best with examples. So here's a few to illustrate what I'm talking about.

- Karela the Red was the gunsmith's daughter. Her mother died in childbirth, so her father taught her his trade the same way he would have a son. When their home was attacked by bandits she snatched up her father's blunderbuss, but it misfired and the bandits killed her father. From that day onward she's kept her weapons fastidiously clean and ready for action, knowing that sometimes putting it off to tomorrow means there won't be a tomorrow. And she always, always has a back-up.

- Erik Alder loved listening to his uncle's tales of sailing the world. The exotic lands, the strange creatures, and the adventure were something he never got tired of hearing about, despite the old man's missing eye and the stump where his hand had once been. Erik went to sea himself at 14, and that sensation of the salt in his lungs and the wind in his hair is something that has drawn him ever-onward since that day.

- Glenda Hammerhand always loved the stories of the gods. She liked the idea of being a priest, but all the reading and remembering was a task infinitely more complicated than smelting gold or swinging a hammer. The first time she felt the brush of divinity moving through her, though, and the smile of the boy whose broken leg she healed, she knew that the clergy was truly where she belonged.

Do you see? While a life is complicated, full of important choices and banal decisions, some of them have the potential to truly shape what a character feels or believes. These moments can be good, they can be bad, or they can be downright cynical. The soldier who defended her brethren during a surprise attack, only to be thrown under the cart wheels when the captain demanded to know whose fault the failure was might adopt a "looking out for myself" policy before becoming a mercenary. The paladin who defends the right of all creatures to make their own decisions might see one too many victims become monsters, and fall from grace when he becomes a tyrant in order to save people from themselves. The half-orc, ostracized by his community may still defend them when they're threatened. The gratitude of those he saves is second only to the feeling of pride he has in using his strength and ferocity to protect something he feels is truly his.

A Character's Career is Full of These Moments

A character should have at least one defining moment before coming into game (typically the one that made the character an adventurer in the first place). That said, these moments will also occur throughout a campaign. The half-feral ranger may bond with the bard, showing the singer a world he never knew existed, and at the same time remembering what human companionship is like. An aristocratic cleric might believe the barbarian is a savage in need of education, but when he sees the complexity of the "savage's" beliefs he realizes there are more perspectives than his own to share.

By learning to recognize (and occasionally push) defining moments you'll be able to develop a deeper character whose motivations and actions become crystal clear. Not only with this make RP easier, but it will often lead you to develop your characters in ways you didn't plan for.

As always, thanks for stopping into Improved Initiative, and if you'd like to help support this blog just stop by The Literary Mercenary's Patreon page and become a patron today! If you want to make sure you don't miss any of my updates then all you have to do is follow me on Facebook, Tumblr, or even on Twitter.

Fleshing Out Your Background or How To Avoid Playing A Murder Hobo

There's a very specific kind of character who ends up in a lot of games. It could be Shadowrun or Pathfinder, Vampire the Requiem, or Dungeons and Dragons, it doesn't matter; this character will eventually put in an appearance.

This character is referred to as the murder hobo.

The adventurer in its natural habitat.

For those of you who aren't familiar with the murder hobo they're fairly easy to recognize. These characters have no connection to the world, including to the party they adventure with or the society to which they tacitly belong. Their only motivations seem to be blood letting and collecting resources, but without any motivation for either. They are violent forces of destruction who take as much loot as they can for no purpose other than to upgrade their murder tools to take on bigger and bigger targets.

If you feel you or players at your table are at risk of allowing a murder hobo (or worse a pack of them!) to flourish then follow these simple steps to inject genuine character and pathos into your game.

Who Are They Connected To?

Often times player characters are treated as if they stepped out fully formed. Garth Broken-Tusk has never been a child with friends he cared for or a father whose respect he wanted to earn. Kalin Nightblade never spent time as a girl wearing dresses and thinking about boys before she became a knife for hire. No, these adventurers did not exist before their first level, and they stepped out of the mold with no family, no friends, no peers, tutors, or confidantes.

That's a good place to start.

Thus began the training of Alton Snare, First Wizard of Flame.

Every character was once a child (barring androids, golems, and other races who are formed as adults), and they had a life before becoming adventurers. That life wasn't necessarily good, but even child soldiers, homeless sneak thieves, and orphan wizard's apprentices will have people and things they care about. Ask whether or not your adventurer had a kid sister he had to care for after their parents died, and when she found a position with a local lord he realized he had no reason to stay in that town? Did your bard receive his training from his grandfather, whom he sends letters to apprising him of all the adventurers he's gone on? Does your blood-thirsty berserker like kittens?

Regardless of who or what your character is there is a connection somewhere in his or her life. It might be membership in a holy order, a position in the army, a spot in a gang, or just a family that he or she left behind for one reason or another. Point is that these things all had a hand in shaping that character.

Why Are They Adventuring?

I've harped on this before, but motivation is important when it comes to PCs. Sure it's cool that Splitshield Axebeard, hero of the Irontooth Mountains sought out and destroyed an entire valley of trolls... but why? Were the trolls attacking innocent people, and the dwarven warrior felt that had to be stopped? Did the trolls threaten his people and family, causing him to take a stand for his clan and home? Is he obsessed with his own prowess and reputation, so he sought out the biggest, most ridiculous challenge he could find?

Let's go with that last one.

Character motivation does more than legitimize PC violence (though if that's all it did that would be enough). By understanding a character's motivation you understand that character's goals, what's important to that character, and what sort of actions he or she is more likely to take. You could take two characters of the exact same class and the exact same alignment, but if you give them different motivations you will get two very different stories.

Why Are They In The Party?

So you're still determined to play a callous, cynical loner whose only real talent is laying waste to things that get in the character's way. You have no past, no family, no country, and no loyalties. All right, it's your character and you can play it how you want... but why is this character in the party if that's the schtick you're going with?

*ahem*

A lot of the time parties form because players acknowledge that they are in this together and they all need to follow the plot hook the storyteller is giving. That said it's still important to figure out some reason you're all following this adventure from start to finish.

The reason doesn't have to be complicated, but it should be solid. Let's say you're playing a half-orc barbarian from a desert tribe. His greatest loves are battle and spoils, and if left to his own devices he will slay anyone he feels deserving. Why is he in the northern mountains helping to make peace between two warring nations? Perhaps he owes the paladin a blood debt, and so travels with him to keep him safe. Maybe he's in love with the sorceress, and is attempting to figure out this strange feeling. Perhaps the gods sent him a vision and told him to follow the man riding the bear to find his destiny. Or, simplest of all, having fought and shed blood with the party he considers them his sword-family, a bond that in-debts him to them and which draws them closer according to the rules and customs of his tribe.

There are innumerable ways to make your character invested in the adventure. Perhaps he's running from a dark past and trying to re-make himself into a hero so no one ever believes he was once a savage bandit leader. Maybe your character has great national pride, and wants to serve as an example to her nation. Maybe you're in the army, or you're a member of an arcane order, and you've been tasked with fulfilling a mission. Whatever method you use to connect your character to the world and to the game is great, as long as it puts you there for a purpose beyond killing everything in sight and taking its stuff for no better reason than because you can.

If you'd like to help support Improved Initiative then take a moment to stop by my Patreon page and consider becoming a patron today! If you want to make sure you don't miss any of my updates then make sure you follow me on Facebook and on Tumblr!

All That Glitters is Not Gold: Non-Monetary Rewards For Your RPG Party

Congratulations, you've conquered another dungeon! You've defeated the Beast of Brackenbridge, slain the wicked cult that brought it sacrifices, and laid to rest the victims of this vile monster. Your reward? A magic sword, and as much gold as you can carry. Again.

Sure, I guess. If that's all they've got.

The first few times players get this reward they're ecstatic. They're low-level adventurers who've been scraping by on a few spare copper pieces, and all of a sudden they're flush with cash and armed to the teeth. But how many times can you get the same reward before it loses its meaning? Three times? Five? How long before even epic level weapons (even ones created with this unique, alternative system for making magic weapons and armor) and enough gold to buy a country just feels like a ho-hum reward for your dragon slaying?

If you really want to keep your players interested, give them something they can't buy.

What Are You Talking About?

I'm glad you asked, bold Italic text. What I'm talking about is the concept of a non-numerical reward; something beyond XP, gold, and calculated magic items. These rewards aren't found on a table, and they don't require any number crunching on your part as the DM. Despite that though, these rewards may be what players talk about for years to come when they sit down to tell people about the coolest things their characters ever accomplished.

Status

Great deeds come with great rewards, but one of the most common rewards that gets left out of any game is a promotion. Take the cleric for instance. After serving faithfully and defeating the enemies of the church it would make sense for the lowly priest to be raised up to the position of chaplain, herald, or even Commander of the Faith. The post would come with increased responsibility, but it would also come with better quarters, access to more of the church's resources, and even lower-ranking priests to delegate responsibilities to.

Personal bodyguards in silly outfits are not out of the question.

The same is true no matter what game you're playing. Modern fantasy characters might be knighted by the faerie court, and given rank and power as well as access to the world between (actually being knighted is pretty damn cool no matter what game you're running). High fantasy warriors might be granted titles and land, elevated from sell swords to lords and ladies complete with heraldry and fiefdoms to oversee. Even something as simple as being moved up the ladder from patrolman to detective (sergeant to captain, watchman to inquisitor, etc., etc.) is a reward that will add more to the story and character development than any number of mechanical macguffins.

Reputation

Actions have consequences, and one of those consequences is a reputation. Whatever a character or a party does is going to leave its marks on them and on the world, whether for good or for ill. A pious quick draw specialist who always gets the first shot off may be known as the God's Gun. An acrobatic knife fighter known for her use of envenomed blades might earn the title of the Cobra Queen, the Poison Woman, or the Pestilent Princess. A heavy-handed gangland enforcer might earn the word "iron" before his name, and a slick-talking rogue who could make you believe anything might be dubbed The Salesman.

No one asked why they called Yuri the Horn Blower.

Fame or infamy, if you have a character who's done anything then that character is going to be known for that act by someone. The bigger the actions characters take, the bigger that reputation is going to loom. At earlier parts of the campaign characters might just be known by a small quarter of a city, or maybe by a small town. Once the party really hits its stride and the tales start getting told characters should be hard-pressed to go somewhere they are't recognized (unless they take steps like not wearing signature pieces of gear, disguising their faces, or making sure that the bards telling stories give purposefully false descriptions of the characters in question).

Giving characters a reputation among certain parts of the game world makes them feel more organic. It might also mean they can avoid some fights (since no one wants to challenge the Coffin Maker to a duel), get special treatment, or be sought out by plot hook NPCs who require men and women of their skills and abilities.

Following

Anyone who gains fame will also develop a following. A knight of great renown might draw crowds to a tournament if word gets out that he'll be riding in the joust, for instance. An infamous wizard might find acolytes at her door, begging for the privilege of becoming her apprentice. Characters who have renown, good or ill, will inevitably have people who want to learn from them, be like them, and pledge themselves to that character's service.

The Bowman's Children are not to be trifled with.

Sure there are ways to gain followers mechanically. Pathfinder, Dungeons and Dragons, World of Darkness, Savage Worlds, all of these game systems and many more besides provide ways for your character to have a set number of followers. However, while characters can use these rules to buy followers, simply purchasing them can be more mechanics than roleplay oriented. This is the primary reason many storytellers won't let players use these rules to add more characters to the party; in the wrong hands these rules can be bent till they scream.

The point is that a following and followers are similar, but different. If a character has followers then that means a player has a specific set of NPCs he or she can call on, and it can put a small army at a PC's beck and call. A following on the other hand can be an amorphous pool of people who are there for roleplay purposes, but whose mechanical capacity is entirely up to the storyteller. Followers can be bought, but a following is earned as a product of roleplay and a character's actions in the story.

But What About Loot?

What about it?

Ooooh... what does this do?

No one said to stop giving players magic items, XP, and money (again though, you might want to consider these alternative systems for generating magic weapons and armor to keep things interesting). I'd be willing to bet that special items, whether they're super-science gadgets in Spycraft or enchanted steel in the Iron Kingdoms, will always be a solid present for your players. But if you want to keep them interested and striving as hard as they can it's a good idea to create some rewards tailored to fit what they've accomplished in game so far.

And for DMs who just want lower-cost loot that is worth less than a gold piece (but which is still useful while adding flavor to your game), you might want to check out 100 Pieces of Miscellaneous Tat To Find. I wrote this guide for Azukail Games some time back, and it's ideal for giving treasure that isn't really all that valuable. The original was written for Pathfinder, but there's a system-neutral version, too.

I'm not suggesting you give status, reputation, and position instead of loot... rather, try to diversify the rewards you give your players. Because these kinds of non-monetary achievements let them feel like they're having an effect on the game world rather than just playing through a pre-determined set of rails with occasional loot drops. That individual attention, and an award tailored specifically to a given gaming experience, is something you won't be able to find on a random rolling table.

For those who'd like to keep Improved Initiative going, stop by my Patreon page and become a patron today! If you want to make sure you're getting all of my updates then plug your email into the box on the right to subscribe, or follow me on Facebook and Tumblr. As always thanks for stopping by, and I hope to see you again next week!