The Difficulty of Destined Heroes and Fail States

We have all been in those games where destiny takes a hand in the plot. Perhaps our heroes are chosen by the gods to act as their direct representatives in a spiritual proxy war (a similar setup to what I called The Cold War of The Gods). Maybe there was a prophecy that foretold them rising up to challenge a great power. Or this just happens to be the trope the GM is leaning on because it was difficult to find an organic way to get such a disparate group of killers, thieves, and liars to all come together to accomplish a shared goal.

However, there is nothing more likely to result in a clash between rules and plot than something going wrong in a destined hero game. Which is why, before you gear up to run one, you need to think through how you plan on dealing with a fail state.

The dragon warriors were supposed to free us all... but then they died. To one lucky goblin.

But before I get into the meat of today's post, remember, don't forget to sign up for my newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

How Does Destiny Manage To Weave Through Failure?

We've all read a story where a hero or heroes were destined to do something, and while things might have seemed bleak or hopeless at times in that story, the characters always seemed to make it through in an interesting way. Which is why if you're playing a game where the plot device is that your party have been chosen by fate, the gods, or some other higher force, you need to take a moment to ask how you're going to keep the game going if bad luck stalls out the story's progress.

The gods are not so easily denied, small one...

Let's start with the obvious... what happens if one or more of the characters get killed? They've been chosen for this great destiny, and they're on their way to fulfill it, when an orc ambush goes a little too well, and the party goes down. Now you've lost the champions of the plot... what is destiny going to do now?

Well, I have a few recommendations for how to handle this.

Firstly, if you're going to run a chosen one plot, wait until the PCs have gained a few levels before you start throwing around that kind of language and making them officially chosen ones. The major advantage of this is that it gives your players a couple of levels to get into the groove of their characters, and to get past the point where one good critical hit can spell an unlucky game over. The secondary advantage is that it gives the party time to become cohesive, and for players to get really attached to their characters. After all, a player wanting to bring in a completely different PC can screw with the whole destined heroes plot just as much as a character death.

However, even waiting until the PCs are a little beefier doesn't guarantee they won't meet with an ignoble end. That's why it's a good idea to have some kind of force in place to give the characters a way to survive at least 1 death. However, as I mentioned recently in both Undercutting Death Can Undercut Your Story, as well as Villains Can Cheat Death (Without Taking Away Your Players' Victory), it's important that this doesn't feel like you're just throwing your players a bone. Overcoming death should come with some kind of cost or hardship, or it should be uncertain in some important way. Perhaps a divine being must stand in the place of a PC in the Underworld until they complete their quest, or they have to make some kind of bargain with a powerful outsider.

You can even have a whole separate part of the campaign happen in the land of the dead if you want to bring in a game resource like The Black Ballad, which is all about running campaigns that take place partially (or even entirely) in the hereafter. Alternatively, you might find some inspiration in I'm Back! - 25 Reasons For A Villain's Survival.

Resurrection can be a finnicky thing.

Lastly, and this might sound counterintuitive at first, you should try to come up with fail states beyond death for the PCs.

I've talked about this before, but when it comes to a destiny-style game, consider the implications of death in the ongoing power struggle. Will killing the heroes of the prophecy actually stop the prophecy from coming true? Or will this just allow the divine essence to slip away, where it will empower a different, unknown hero that the villains will have to find and track down all over again? Do the villains want to steal the PCs destiny, but they can't do that if they're dead, so they have to be kept alive and captured? Are the PCs themselves a necessity for the villain to win, whether it's by turning them away from their current path, making allies of them, or getting them to somehow renounce the quest laid before them?

It's your game, so you're the one who gets to decide how the prophecy, destiny, or driving plot force behaves. However, providing multiple fail states, or a way for players to fail-forward is a good idea. For example, have the villains been given explicit instructions by their master to take the PCs alive at all costs? If so, then they should find themselves held prisoner in the enemy's fortress when that was where they were going anyway... the difference is that now they have to engineer a jailbreak instead of just sneaking in. Alternatively, perhaps they're in a race to acquire magical artifacts, and the fail state for that arc of the quest is not being killed, but rather the enemy acquiring the items first, which puts the PCs at a disadvantage they need to recover from in the next arc.

And so on, and so forth.

To wrap things up, I'm not saying that games where PCs are the chosen ones, or where they're fulfilling some grand destiny, are bad. Far from it. After all, everyone likes to be special from time to time. However, if that is the trope you're using as the main thrust of your campaign, it's important for you to have off-ramps and work arounds in the event things don't go according to plan.

Which every Game Master will tell you is basically guaranteed to happen as soon as you hand the reins over to the players, and the dice start hitting the table.

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my additional audio dramas over on The A.L.I.C.E. Files! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest 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 Blue Sky, 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!

Character Secrets Don't Matter If No One Finds Out About Them

Everyone loves a good plot twist, or a fun character reveal. The problem arises, though, when players (or even the GM) squeeze the story so tight to their chest that they end up smothering the secrets they were holding. Because while having a big reveal in your back pocket can be fun, if no one else is ever going to find out about it then it may as well not exist.

Which is why you shouldn't just know what your character's secrets are, as I mentioned in What Secrets Does Your Character Hide?, and elaborated on in the character concept The Onion of Secrets. You should also know how that secret is going to matter to the story you're all telling, and have some idea of how you're going to start revealing it to the people sitting around the table with you.

If they never dive down, how would they know?

As always, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

The Spice Needs To Go Into The Soup

Once you know what your character's secrets are (whether they're a secret vigilante, they were born to a noble family, they were a bandit in a former life, etc.) you can think of them as a little dash of spice. However, if you never actually add that spice into the dish, then it won't make any difference to the overall experience. However, adding in the spice at the wrong time, or in the wrong amount, can also ruin the presentation and flavor when all is said and done.

And this is why it's important for you to consult with the head chef (the Game Master) to make things come out just right!

Mmm... this one might be too salty. Let's do a half dose of this, how's that sound?

First things first, character secrets should be a collaborative effort between you and your Game Master. The reason for that is because the GM is the one who needs to facilitate a good reveal, and to help you set the stage so you can stand in the spotlight for a moment when it comes time to let everyone else in on the secret.

Secondly, once the Game Master agrees your secret will become part of the story, try to work with them to come to that appropriate place so that the collaboration stays strong. As an example, if your character used to be an infamous assassin before they joined the church and took the vows of a cleric, work with the GM to figure out when (and how) you want that information to come out. For example, do they have secretive tattoos or brands they keep hidden until they're revealed when the party is taken prisoner? Do they speak a particular language only known by members of this secretive order, and they have to reveal that to translate critical intelligence? Or do they find people who recognize them from their old life for one reason or another? Because sprinkling in these clues, or just adding in the big reveal at a dramatic moment, can really make the story sing.

Where a lot of players mess this up, though, is they will either keep their secrets extremely close to their vests to the point that they never come up in the game at all, or they will try to spring this surprise on their fellow players and on the Game Master, which is a terrible plan because it can create unnecessary confusion that will undercut the reveal.

Timing and placement is extremely important for maximum story impact. Because say that your character was actually a princess, but she ran away from her royal responsibilities to become an adventurer. Classic twist, very fun. However, if you aren't coordinating this with your Game Master then you don't have any in-world structural support for this character's entire secret backstory... and even if it is allowed to stand, there won't be anything in-place for the plot that this reveal will actually affect. But consider what might happen if you were in communication with your Game Master. Because if you wanted a secret princess reveal, and the Game Master agreed, then at the very least there's likely to be people looking for the missing princess. But it's also possible that the villain for the campaign will be a family member of hers, and that she has a legitimate claim to the throne that could lead the party to commit a coup rather than leaving her evil uncle or sadistic brother sitting on the throne.

Long story short, if you want your character reveal to have a real impact then it's going to require scaffolding and set dressing to really facilitate it. And if you don't work with your Game Master to set the stage, then the reveal is going to fizzle out... so make sure all the setup is in place before you step onto your mark!

Lastly, if you found this week's post of-interest, then take a moment or three to check out my supplements 100 Dark Secrets as well as 100 Questions To Ask About Your Characters.

Like, Follow, and Stay in Touch!

That's all for this week's Fluff post. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or the dark sci fi saga of The A.L.I.C.E. Files! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest 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 Blue Sky, 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!

Compersion Is An Important Aspect of Being a Game Master

Compersion is a term that a lot of gamers are familiar with, because a polyamorous lifestyle is the easiest way to ensure that you have enough people for a regular RPG or board game night. However, if you've never heard the term before, the most general definition is that it is when a person feels a sense of happiness cause by seeing someone else's happiness; particularly someone important to that person.

And generally speaking, I think this is something a lot of Game Masters should take to heart, because the idea is one that can make game night a lot more enjoyable for everyone involved.

Lastly, before we get started this week, you should check out my older article Partners and Polycules: Polyamorous Designations Based Off Dungeons and Dragons Dice in the event you need a chuckle today.

It can really help to have your head, and heart, in the right place.

But before I get into the meat of today's post, remember, don't forget to sign up for my newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

Making It About Your Players (Instead of Yourself)

Since I can hear the clearing of some throats out there, I wanted to give the more in-depth definition of this term as it applies to polyamorous people. Mostly because I feel that will give the following topic a little additional weight. Now, for those who don't know, polyamory is a relationship style where people have multiple romantic and/or sexual partners at a time, and there is open communication and knowledge among everyone involved. Now, in this case, compersion is often about seeing one of your partners being happy with another partner, and feeling happy that they're happy.

And I bring this up because for a lot of people seeing their partner go out on dates with another person (or knowing they were up to something more intimate) would give them very negative feelings like jealousy, sadness, or anger. And while those things can still happen, for a lot of folks the idea that you would see your partner in this situation, and be happy that they're having fun and excited, can be a lot to wrap their heads around.

But I would posit that there's a parallel here for a lot of Game Masters. Because it feels like a lot of folks who run games can sometimes put their players' happiness and excitement last, which leads to problems.

I hope they're having a good time right now. I really do.

Now, to start us off on the right foot, I agree with the sentiment that the Game Master is also a player at the table. They have a very different role, but they should absolutely be enjoying themselves as much as anyone else. However, with that said, it's important for a Game Master to ask themselves if they're excited when their players are excited, or if seeing their players having fun gives them a rush of positive feelings. Even if the players are doing something unconventional.

Because there are a lot of Game Masters out there who get frustrated or upset with players when they use an ability in an unexpected way, when they try out a strategy the GM didn't see coming, or just when the dice gods smile upon the players and things really go their way with a natural 20 or critical success at a clinch moment. And sure, maybe you were hoping that your villain would make more of an impression on the players, or you're frustrated their figured out a plot twist sooner than you wanted them to, or a fight they were supposed to lose is one they actually walked away from victorious... and it's all right to feel those things. But ask yourself if your players are having fun, and if that shouldn't be more important in this moment?

The ability to take your ego out of things, and to bask in your players' enjoyment, is really important for having a good experience as a GM. Because even if your players ignored a dungeon you'd hoped they would go down, or they solved a mystery two sessions early, or a twist of fate allowed them to absolutely wreck a villain you'd hoped would have been more of a challenge, if your players are having fun, ask yourself if those other things are more important at the end of the day?

That perspective, and that shift in mind set, can make a lot of difference. It can also allow you to shrug off things that would otherwise bother you. If you develop the ability to say, "Well, as long as everyone is having fun," and to really mean it, that will make your life a great deal easier.

And if you haven't picked up my 100 Tips and Tricks For Being A Better Game Master, as well as the companion piece 100 Tips and Tricks For Being A Better RPG Player, I'd highly recommend grabbing some copies for yourself!

As A Final Note: Compersion and Bad Behavior

I heard a few folks cracking their knuckles for comments, so I wanted to tack a section onto the end of this week's post. It's important for you, as a Game Master, to tell the difference between harmless behaviors from your players, or your own hang ups as a GM, and problem behavior. As I mentioned, the goal here is for everyone at the table to be having fun, the GM included. And there is a world of difference between allowing your players to go off-script, or allowing an unexpected but earned victory to stand, and putting up with bad behavior from your players.

However, in another polyamory comparison, the best course of action is to talk about things. Whether you feel your players aren't being appreciative of the effort you're putting into the game because they keep ignoring what you're telling them, or you feel that they're deliberately undermining the tone you all agreed to at the outset, or you feel that tea-bagging your minis is disrespectful, and they're going to hurt themselves when they eventually fall off the table, have a conversation about it.

And don't wait until there's months (or years) of pent up negativity and bad blood about something that can come boiling out. Just talk to your players, open up a dialogue, and tell them, "Hey, I'm having some thoughts/feelings about this. I don't want it to become an issue, but I'd appreciate if we could talk this out."

It really does solve problems.

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my additional audio dramas over on The A.L.I.C.E. Files! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest 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 Blue Sky, 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!

Game Masters Aren't Gods... They're Genies

The common refrain we've seen about Game Masters is that they are the god of the game. This is both in the sense that they are the arbiters of the rules, but they are also the force that animates the game world the players are having their adventure in. However, there are a lot of us who allow this turn of phrase to go to our heads, and it often makes our games worse. Which is why this week I wanted to suggest a pivot, and an alternative way of thinking about things.

Because we aren't gods... we are genies. And at the end of the day, the players are the ones we're here to serve.

Phenomenal cosmic power... itty bitty gaming space...

But before I get into the meat of today's post, remember, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

Our Purpose Is To Facilitate

Another phrase that's come into circulation over the past several years is, "The Game Master is a player at the table, too." And I agree with this. However, we have a very different role when it comes to our purpose in the game and story. Our job is to create challenges, and to facilitate our players doing cool things. This doesn't mean that we handle them with kid gloves, or that we refuse to let consequences happen in the game. At the same time, we shouldn't be trying to "win" the game by making sure the players fail in their goals.

In short, we need to be genies.

Because it's true that the Game Master has a great deal of power at the table. They aren't bound to the rules of character generation; they have access to armies. They are the ones who decide what treasure the players find, what allies they make, and what their enemies are doing. They are the ones who puppet the gods, and who set the gears in motion... but a Game Master should do all these things in service to the players.

Entire worlds move at their behest... worlds for the players to explore.

Consider for a moment what happens if the enemy wins. The player characters are dead, and the villains continue on with their villainy... what now? Because unless you're using a supplement like The Black Ballad that gives players a way to side-quest their way out of the underworld, then that's typically where things end. All those notes you took for the story going forward, all the encounters you had prepared, and all the monologues from the villains... all of those things fall into darkness.

That shouldn't be your goal. Because even if you find a way to bring the player characters back, or you convince your players to bring in their back-up characters, losing on that scale tends to be a serious blow to morale, and it can leave the game feeling fragile even if it doesn't break completely.

Instead, your goal should be to endeavor on behalf of your players... not their characters, but your players. You want them to have fun, to explore the world, tell their stories, and to want to come back. Like a favored book they want to consume just another chapter of, you are the one making their enjoyment possible in the first place. And that requires taking your ego out of things as a Game Master. To be able to listen to what your players want, to talk things out with them, and to understand their wants and expectations... and then to deliver on them.

Put another way, imagine you were being served by a world-class chef. But when you ordered what you wanted he just snorted, shook his head, and brought you a completely different dish. Perhaps it's something you don't actually like, or worse, something that you have allergies to. All the skill and experience in the world does you no good if you aren't bending it to the goal of giving your players what they're actually asking you for... because if you deliver what's asked for with skill and style, then you are going to wind up with an extremely loyal table who will talk about your games for years.

Also, for more useful tips on being a Game Master, make sure you grab a copy of my supplement 100 Tips And Tricks For Being A Better Game Master, which has some of the best strategies I've shared on this very blog. Additionally, consider picking up the sequel 100 Tips And Tricks For Being A Better RPG Player as well!

A Note On Tricksy Genies

Because I'm sure some folks thought of this as soon as they saw the title, I want to address the idea of the "tricksy" genie. You know the ones I mean. The genies who pervert the intention of someone's wish, or who play word games with the meaning. Like if someone said they wanted a lifetime supply of raspberry crowns, which is a well-known dessert, but it also happens to be a slang term for a particularly deadly hornet, so the genie has them attacked by swarms of dangerous insects instead of granting them a sweet treat.

Don't be that kind of genie. I touched on this in Nobody Likes A "Gotcha" Game Master a while ago, but it's worth reiterating. Because if you are constantly trying to toe the line, act against the spirit of what your players have expressed while sticking to the letter of an agreement, all it's going to do is undermine trust, and make people less likely to want to play with you.

Again, for clarity. NPCs like fey lords, devils, and even genies and djinn, can (and in some cases should) act in just this way... but you as the Game Master should be open, up-front, and honest with your players when you are trying to run a game for them. You may not want them to trust the characters they meet in the game, but they should always be able to trust you. Because if they can't, then the ship is sinking... it's just a matter of when.

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my Rumble channel The Literary Mercenary! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest 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 Blue Sky, 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!

Dungeon Design Tips: You Need To Make Social Skills Viable If You Want Players To Use Them

(Apologies on the formatting, but I originally wrote this in my word processor, as my Internet service was down for a week. I don't know why it has chosen to appear this way, and I'm trying to fix it.)

One of the biggest complaints a lot of Game Masters have is that players will always try to solve problems with spells or steel, rather than using their wits or their words. However, while that is a valid complaint to have, it is important to first look in the mirror before assigning all the blame to the players sitting around the table.

In short, did you give them a reason to believe that rolling for diplomacy or persuasion would actually work? Or has that always led to the enemy getting the first shot in, putting the party at a disadvantage for the coming combat?

Now, stick with me here, I want you to NOT roll initiative just yet...

As always, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

If Words Don’t Work, Players Won’t Use Them

Generally speaking, players understand there are non-combat options to solve issues… but that understanding seems to only exist when their characters are in locations where combat is frowned upon. If they’re in a town, for example, they’ll try to barter for goods, sweet talk their way out of trouble, or threaten their way past a couple of street toughs… but as soon as the PCs step outside of the designated “friendly” zone, it’s like all their non-combat options get grayed out.

Your job, as the Game Master, is to show that just because the party is venturing through the depths of a forest, or they’re entering a dungeon, that doesn’t mean their social skills are no longer viable. And to do that, it pays to sprinkle in some encounters where players can see this in action.

Let's have a conversation, shall we sweet ones?

For example, say your players encounter a flitting fey creature (like one of the ones you might find in 100 Encounters in a Fey Forest, for instance) while they’re moving through the woods. They could attack it and drive it off, yes, but does doing so mean they find the forest ahead of them is now filled with traps? If they speak cordially with the creature, will it offer them guidance through the woods? Or perhaps tell them the location of a buried treasure, in exchange for a promise to take on a small task for it? If they’re merely pleasant, and offer it some of their rations, will the creature watch over them while they’re in its part of the forest, looking for some way to pay back the “gift” it was given?

Expand this idea out in other ways. Do the ogres guarding the wicked sorcerer’s fortress actually dislike the role they’ve been forced into, and they would love to see the spellcaster killed, as long as they get the gold they were promised? Do the rank-and-file members of the Mistwood Raiders think their war leader has gone too far in kidnapping people for ransom, and killing people who weren’t even resisting? If so, could they be persuaded to offer the party information, or even help, if they promise to end the bandit king who wears the bone crown taken from the forgotten tomb of the Mad King? Could they go so far as to open talks with a vampire who seems to be attacking a nearby town, or to engage with a dragon to establish an agreement between it and the terrified people who have lived in its shadow?

Parley? Well, I suppose...

Now, obviously, social skills won’t solve every situation. Clockwork automatons, mindless undead, and territorial magical beasts don’t respond to social overtures, and they will do what their programming, orders, or instincts urge them to do. There will always be antagonists whose goals are directly counter to what the PCs want, and so reaching any kind of agreement will be impossible. And there will always be enemies who think themselves too powerful to bend even an inch to the demands of others, no matter how soft the silk those demands are wrapped in. However, if you want your players to embrace a variety of tactics to solve problems, then it’s important to show them that there are reasonable creatures in the setting who will at least hear them out when they try to be diplomatic.

Lastly, it’s important to consider how this can affect the reputation of the party. If the sorcerer is known for an uncanny ability to bargain with fey creatures, does he earn the name Silvertongue among them (or Ironjaw for those who end up on the worse end of the agreements)? If the dwarven fighter sealed a pact with an orc clan, and upheld his end of that bargain, does that earn him respect among other members of that clan or nation? Perhaps opening doors that would have remained shut to him if he and his allies had merely slaughtered those who got in their way? And if the party takes prisoners, accepts surrender, and treats those who opposed them with honor, that’s something that should also be known to others after a time. On the other hand, if the party breaks promises, lies, cheats, and steals, then they’re going to find those bad decisions catching up with them, and their reputations are more of a weight around their necks than anything else.

For more on this, check out the article Character Reputation in Fantasy RPGs: The Small Legend.

And if you’re looking for more ways to incorporate social encounters into your next campaign, consider checking out some of the following supplements:

- 100 Random Encounters For On The Road Or In The Wilderness (general fantasy RPG)

- Social Encounters For Old School Revival (OSR system)

Like, Follow, and Stay in Touch!

That's all for this week's Crunch post! To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my Rumble channel The Literary Mercenary! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest 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 Blue Sky, 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!

Campaign Building - A Single Novel, Or An Episodic Story?

Campaigns are how we describe our stories in RPGs. And while it's true that not every game you play is going to follow the level 1 to level 20 format, the idea of a story where characters gain resources, skills, abilities, and experience to become more formidable than they were until they hit the final confrontation and the story gets a crescendo is the basis of how most games work. However, there is a question that you, as a GM, should answer when you start putting the next game together.

Do you intend to run a game with a single throughline the way you'd read a novel, or are you going to run a segmented storyline that's more episodic in nature?

It's all connected!

But before I get into the meat of today's post, remember, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

The Structure of Your Story

Whether you're writing your own adventure, or you're using a pre-written campaign like Storm King's Thunder or Kingmaker, the structure of the story you're telling still boils down to one of these two major styles. So I wanted to talk about them, and about the pros and cons, to try to get some of my fellow Game Masters actually thinking about these campaign styles, and why they use one or the other for a given campaign.

The Novel

From page 1, all the way to the end.

The novel is, essentially, when you have a long-running campaign that will have the same characters all the way through from the beginning to the end. However, the trademark of the novel is that characters are also involved in a single, cohesive story for the entire campaign. This is a lot harder to do than it sounds, particularly in games where you want your players to grind up their levels before you throw heavy stuff at them. However, there's two ways to maintain this single story cohesion all the way through.

1. Write a complex storyline that, from level 1, has your players hooked into the ongoing narrative and setting up the final endgame. For example, they act as a squad of mercenaries sent to deal with orcs attacking a borderland town. They defend the town, discovering members of a cult who were backing the orcs in their attacks. Through this, they find the town is actually safeguarding an ancient relic that had been forgotten. The party escorts the relic to the regional governor, and end up having to uncover a conspiracy where several nobles were members of the cult. This failure of the minions draws the eyes of the cult's leaders, who then begin attempting to take this item. The party has to find the rest of the relics in the set so they can finally end the undying lord of the Unseeing Eye for once and all.

The idea is that each segment of the campaign feeds into the next, with the plot growing in stakes and danger, and all of them are connected. Every aspect matters, and it is all part of the same story.

2. Start the game off at the power level you want for the "interesting" part of things. This is a far easier approach, and it often means you dispense with any filler or level-grinding parts of the game to get the PCs up to snuff for when the main plot starts really rolling. So there's no low-level quests like clearing out goblin caves, or dealing with bandits on the highway just to solidify the party and get some XP on their sheets... you just start at level 5, because that's when the main plot of an undead army attempting to claim the nation would have started to unfold.

This does, of course, mean that your game isn't going to run as long as it otherwise might. That is either a feature or a flaw, depending on your outlook, as some GMs (and players, too) might want a tighter game where they play for 6 months to a year and focus on the "good part" of the game, without all the faff and chaff of the unconnected side quests, monster hunting, and grind that can often show up in a game.

The Episodic Story

As we rejoin our adventurers...

An episodic story is, well, episodic. There are smaller stories that each have their own arcs, and these stories are added to over the length of a campaign to create a complete chronicle of the characters' adventures. While some of them might be connected, many of them won't be.

Perhaps the best comparison for this kind of campaign is reading a collection of short stories about classic sword and sorcery heroes like Conan or Solomon Kane. Because while the stories feature the same character, and there might even be a loose kind of timeline involved, the events of one story aren't necessarily going to impact the next except in references made, or perhaps in a call back somewhere in the text.

An episodic campaign might have an eventual end goal, but not all the parts of the campaign will be bent toward that singular goal. For example, level 1-3 might deal with the PCs routing out a bandit encampment, and bringing down their leader Three-Fingered Galt. Then level 4-7 might involve trying to find a buried relic in a recently-uncovered castle in the deep desert. Level 8-10 might involve them challenging the Warlock of Black Mountain, and ending the threat he poses. And then, once they've really hit their stride, they spend until level 17 getting involved in the struggle over the Aqualine Throne... will they choose a successor, topple the kingdom entirely, or will they become the rulers of the nation's next age?

Episodic stories give you a lot of freedom, but more importantly they offer you off-ramps. So if someone wants to switch characters to try something new for the next arc, or your table is getting kind of bored, you can end the game at the end of a given episode, and try something else. However, there is that question of whether or not you want to stick with the same characters for their entire journey, and just how interconnected that journey really was.

Consider Your Structure

There's no objectively superior campaign version. You can do a full 1-20 campaign with a single, interconnected plot. You could do short arcs put together. Hell, if you really want to you could run a bunch of individual one-shots and just have a game that feels almost like a TV show (which is, incidentally, sort of how pick up games of my RPG Army Men: A Game of Tactical Plastic would run). But it's important that you ask what kind of story you're looking to tell, and what your players are interested in experiencing, before you start putting together the blueprint for your next campaign.

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my Rumble channel The Literary Mercenary! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest 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 Blue Sky, 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!

Assigned Motivation in RPGs

Oceans of ink have been spilled by people writing about character motivation. From lists of potential motives, to questions to ask about your character, to story concerns, and the intricacies of the unfolding plot, few aspects of the game are as important as figuring out why your characters are doing the things they're doing.

Hell, it's why my supplement 100 Character Goals and Motivations is an Electrum seller, after all.

However, while characters should always have personal motivations that come into play throughout a campaign, a lot of Game Masters overlook the expediency of a game that comes with assigned motivation... often to the point that a lot of people are completely unfamiliar with the idea, or they consider it a form of unacceptable railroading.

So let's talk about that this week, shall we?

Forward! Go, go, go!

As always, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

The Mission IS Your Motivation

The standard model of many RPGs is that player characters form some kind of party, and then go off on an adventure. Sometimes they're mercenaries, and sometimes they're brigands. They might be wandering around looking for a reward, or for good deeds they can do. In these kinds of games the characters' personal motivations are often what takes center stage for each of them. Maybe there's a holy warrior attempting to follow their god's will, they team up with a former soldier trying to find where their next meal is coming from, and they cross paths with a savage warrior seeking some trial grand enough to act as a rite of passage for their people. These motivations are all very personal to the characters in question, and wildly different from one another. Generally what a GM will do at this point is figure some way to weave together all the characters' independent goals and motivations into the unfolding plot, dangling hooks for each of them to get them to work together.

And that is a lot of work... both on the players' parts, but also on the GM's part.

Assigned motivation works differently. In this structure, every character is part of a unit, an organization, a group, a cause, and that cause has the ability to assign them to handle matters on its behalf. You and your fellow party members aren't necessarily going to handle the current issue du jour because it fits with your moral code, or because there's treasure to be gained, or a reputation to be won... you're doing it because your commanding officer assigned you to go and take care of it!

Now, this is the method I used for my own RPG Army Men: A Game of Tactical Plastic, precisely because it's a military-themed game. Because yes, your characters should be individuals with their own wants, their own goals, and so on, but you're in the squad to do a job. And sure, maybe your medic joined up because they couldn't afford to go to medical school, and a tour of service will help them do that. Maybe your grunt is fulfilling a family tradition, and he's a third-generation soldier. Maybe your ordnance specialist caught a charge for arson and weapons trafficking, and he'd rather join the army than do time. Whatever the reason, and whatever goals someone is shooting for, they're still going to go and deal with the missions that command sends them on. They don't have to like it, but that's the agreed-upon framework for the game and story.

And this isn't a new idea by any stretch of the imagination. You see this same setup in the Warhammer 40K RPG Dark Heresy, where the PCs are all part of an inquisitor's retinue, and expected to complete the tasts and assignments the inquisitor gives them. You'll also see something similar in Spycraft, which is a game that I personally took a lot of inspiration from when designing Army Men. However, this same setup can be used in any RPG if your GM sits everyone down and says, "Okay, I want you all to be part of a mercenary company, a squad of town guards, conscripts in a current war," or whatever other flavor they've come up with.

On the one hand, there are a lot of players out there who do really well with assigned motivation in a game. Being told by the GM that they need to make a member of a knightly order, or a soldier in an army, or someone who works for this fantasy world's secret service takes the pressure off of them when it comes to character motivation, and it allows them to color within the lines they've been given. However, there are also players (and even Game Masters) who really don't care for this approach to character building and game management. They often feel that it means they can't make their own, individual characters with their own, individual goals, and that they're expected to just fall in-line, and to go along with the motivation that's presented to them.

Now, just to reiterate, preferences in your game are perfectly fine. But if you've never tried using assigned motivation in your campaigns before, consider giving it a shot if it sounds interesting to you. Just remember that it's something you need to bring up with your players early on in discussing the game, and you need to make sure you have full buy-in from everyone.

Or, if you really want to, you could try any of the games I've mentioned here, and see if they agree with you!

Like, Follow, and Stay in Touch!

That's all for this week's Fluff post. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my Rumble channel The Literary Mercenary! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest 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 Blue Sky, 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!

Resource Management and Tracking (Additional Challenge or Needless Frustration?)

There are a lot of contentious discussions when it comes to roleplaying games. Everything from the age-old debate of casters versus martials, to whether alignment implies a game setting is deterministic in its morality, to whether clerics and paladins require divine patrons to empower them, it seems these topics crop up again every handful of years, and a whole new generation of players and Game Masters grapple with these issues.

One topic that is often overlooked, though, is the proper place of resource management as it applies to your game's challenge. Because while all games have this aspect to some degree, the question is how in-depth do you want to go with it in your campaign, and at what point does it become more of a frustration than a way to add challenge to your game?

Wait... how many rounds have you fired?

As always, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

Tools and Limitations

When we strip back all the upper layers and look at the mechanics of how RPGs work, resource management is one of the most basic concepts that goes into creating a game's challenge. How many spells a character can cast before they need to rest, how many hit points they have before they die, how many times they can use certain class features before they need to be refreshed, all of these things fall into the "resource management" category. And, generally speaking, the broad categories I just mentioned are things that we accept as necessary as both players and Game Masters.

However, like a lot of mechanical aspects of a game, resource management can very quickly become micro-management if one isn't careful.

Okay, so, exactly HOW are you carrying all of that?

For example, a system to make the use of magic finite is generally thought of as a good use of a resource management mechanic. Whether it's a pool of spell points that the character uses to fuel their powers (each use of which costs a certain number of points), or a Vancian magic system where they can cast a certain number of specific spells per day, the idea is that they have to figure out when a situation is serious enough for them to dip into their magic since they only have so much gas in the tank before they're going to be tapped out. There are other situations, though, where managing particular resources is seen as more of a pain in the ass than it's really worth. Whether it's keeping track of a character's carrying capacity (including the weight of their clothes and their armor), tracking how many arrows or crossbow bolts they're carrying, or asking how much food they have in their packs for their journeys, a lot of Game Masters and players just don't want to deal with these things.

And, to be clear, that's fine if you don't want to deal with those aspects at your table. However, too often we just toss tools aside without really examining them... which is why this week I'd like to propose something I don't see show up very often in this conversation.

Instead of just universally writing off a resource management mechanic because you don't care for it, or don't want to use it, take a moment to really look at it. And while you're examining it, ask what kind of game it would be good for, and how it could act to create serious challenge in that game.

Using The Right Tool For The Right Job

Resource management is deeply tied in to the challenge of a game, and often the players' access to resources is what shapes their strategy and their decisions. For example, if your party of adventurers heads out into the forests for weeks on-end, but your ranger only brought a dozen arrows for their longbow, what is going to happen when they've fired every shaft? Will they attempt to recover the spent ammunition from the undergrowth? Will they pull their arrows out of the corpses of the creatures they shot in order to reuse them? Will they craft fresh arrows around the fireside, or while they're sitting on watch, to be sure they have enough ammunition to see them through to their destination?

For the purposes of an example, you can swap out any other item. What if the wizard runs out of material components for their spells? What if the fighter's sword breaks, and they need a backup weapon? What if your party has a two week trek through the forest, but they only brought enough food for 4 days? Or, and this is the big one, what if they only have enough silver to buy a certain number of items, but not everything they feel they're going to need?

Now, if you're a Game Master who prefers to travel by map in between towns, cities, and dungeons, then none of that is likely going to make a difference in your game. Because if surviving out in the wilderness and having to deal with random encounters (or even planned encounters) isn't something you're going to worry about, then none of the things mentioned above are going to be a big deal.

But if that's the case, these tools aren't made for the game you're running.

On the other hand, games that do focus on scarcity of resources, on environmental dangers, or just on survival often do lean heavily on these exact mechanics. Whether your party is lost in deep caverns of the World Beneath, whether you're all escaping from slavery and have to use whatever you can get your hands on to survive in the wilds away from civilization, or whether you're on an expedition to lost ruins to see what lies deep within, part of the inherent challenges of these scenarios is that you don't have endless resources... whether those resources happen to be ammunition, spells, healing, food, or even the amount of time it takes to complete your mission.

Now, pointing out that some players legitimately enjoy games that utilize these tools doesn't mean you have to play games centered around resource management. It doesn't mean you need to incorporate them into your game, and subject your players to these things if they aren't really interested in these mechanics. However, if you're one of the folks out there who have been wondering why these "relics of an older gaming age" as they're so often thought of still exist... well, I just wanted to provide some food for thought on the matter.

Lastly, if this is a topic you're interested in that you want to include more of in your games, might I recommend checking out some of the following:

- How Does Your Character Stay Fed? What Does It Take?: A recent post talking about food and eating while characters are out on the campaign trail.

- 100 Random Encounters For On The Road Or In The Wilderness: If you want to throw some unexpected surprises into your party's travel time... for good or ill!

- 100 NPCs To Meet On The Road Or In The Wilderness: A companion supplement to the above piece, just because the road is long or the wildlands dense, that doesn't mean there aren't people to meet.

Like, Follow, and Stay in Touch!

That's all for this week's Crunch post! To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my Rumble channel The Literary Mercenary! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest 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 Blue Sky, 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!