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.

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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!

What Are Your Character's Politics?

"People can't just be doing whatever the hell they want," Lounds said, slapping the top of the wooden table before taking a long drink from his mug. "We live in a society, and that society has rules. If we don't follow those rules, then we ain't any different from animals!"

"Animals don't let their own go hungry," a soft voice said from near the fire.

The tavern grew quiet. The only noise in the place was the crackling of the blaze in the fireplace, and the creak of a stool as Lounds stood. The big man set his mug down carefully, put both his large hands on the table, and looked over at the figure seated there. The badge of the green lion was clear on Lounds' chest, but it seemed that the man sitting near the flames either didn't see it, or had no idea what it meant.

"Not sure I heard you, friend," Lounds said, though it was clear he had. "Would you care to repeat that?"

"Animals don't let their own go hungry," the man said, taking the long pipe out from between his teeth and blowing out a breath. He tapped some ashes into the fire, before setting the pipe on a side table. "Animals protect their own. They don't hoard kills that others could live off. They understand that survival means everyone works together. Animals don't kill indiscriminately. Animals don't put each other in chains. Animals don't abandon their own just because they're old, or lame."

The sound of Lounds grinding his teeth was loud in the room, and the big man's face was turning purple. He was storming around the table, mouth open to say something, when the man by the fire shifted his cloak, and revealed a stubby crossbow pointing straight at Lounds' chest. The blue steel of the bolt gleamed in the light, and those close enough to see recognized its unique, horizontal blade pattern; it was a man-killer shaft.

"Animals don't kill out of cruelty or hate," the man said, slowly turning his face to look at Lounds. The light danced in the stranger's gaze, making it glimmer like a cat's eye in the shadows of his hood. "So why don't you sit back down again, and finish your drink. You can be mad all you want, but I'd rather you keep sucking air into your chest than have to kill you because you forgot how to use your words."

Let's be civilized, and agree to disagree.

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!

Politics Touches Everything

Now, most of the time when people say they, "Don't want politics in their games," they're talking about things like allegories for current events, or issues that people are struggling with in the real world. I've written about that before on this blog, and I even penned an adventure module titled False Valor which is all about kicking fantasy versions of the Proud Boys in the teeth, for those who were curious where I stood on the matter.

However, that's not what I'm talking about this week. What I'm talking about is what are your character's political opinions about the world they live in? And what do those opinions and beliefs say about them as a person?

Also, for those who are curious, I did touch on this a while back for Discussions of Darkness. It was Episode 14: Politics is an Inherent Part of The World of Darkness over on the Azukail Games YouTube channel.

As an example, does your character come from a society with a strict social hierarchy in place? If so, do they believe that the nobles at the top of the order deserve that position, and that they belong there, because they are the ones best trained to guide the populace? Or does your character believe this inherited power and position leads to moral decay and corruption, and abuse of those beneath them?

Perhaps just as importantly, why does your character believe that? Were they a peasant, or part of the warrior class, who was taught to be proud of their place in the greater machine of their society? Or were they a noble who looked around as their friends and family, and saw with their own eyes how callous and cruel they were precisely because there was no one with power over them to hold them to account for their actions?

Take a moment to consider your character's politics, both in the general, as well as the specific. Do they, for example, believe that kindness is a virtue, and that people should feed the hungry, give to the poor, and that everyone should be cared for? Or do they believe that everyone must earn what they have with the sweat of their own brow, and that to give people things is to devalue those very necessities? Do they believe that the crippled, the old, and the sick should be cared for by the powers-that-be, as that is the mark of a functioning society, or do they feel that such things should be left up to charities, monasteries, and other such organizations? Or if you want to get more specific, does your character support an ongoing war, for one side or the other? What are their opinions and beliefs on taxes? Do they feel that laws regarding drugs or weapons one can possess are inherently controlling, and there should be no limits, or do they believe that some control and regulation is necessary to stop the general population from being endangered?

A person's politics are an extension of their morals and beliefs, so it's important to ask what your character believes in, and what they're willing to do in order to get engaged. Are they someone who will vote in public polls and elections, if they're held? Will they come to a protest? Will they bust heads, and if so, will they do so reluctantly, or do they believe that is the best way to enact political change?

Asking those things can really help you come at your character from a different perspective, and get a sense of just who they are, and how they engage with the power structures of the world.

Lastly, if you enjoyed this entry, consider checking out 100 Questions To Ask About Your Characters along with 100 Dark Secrets to help you flesh out your next character!

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!

How Does Your Character Want To Die?

The warrior dragged the whetstone along the length of his sword, first one edge, then the other. He moved slowly, methodically, dripping oil onto the steel at regular intervals as he maintained the weapon. Jasper looked over at him, and the halfling frowned as he watched this ritual the same way he had practically every night on this journey... every night there had been a fight, at least. Which had been most of them.

"You know, people in your profession rarely live to see their elder years," Jasper said.

"Good," the warrior replied, dragging the stone along the edge once more.

The halfling took his pipe out of his mouth, frowning. "You afraid of being old enough that your strength leaves you?"

"I won't have the luxury," the warrior said, laying the stone aside and tapping his chest. He coughed, then turned his head, and spit. "Lung rot."

Jasper suddenly realized he was still smoking, and tapped out his pipe. A sardonic smile quirked the corner of the warrior's mouth. The halfling frowned at him.

"You could live a lot of years with that sickness, if you cared for it," Jasper said.

"I could," the warrior replied. He lifted his sword, and looked along its length. Satisfied, he slid it back into its scabbard. "But I don't want to."

Some of us would rather die young than infirm and in bed.

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!

One of Life's Two Certainties

Everyone pays taxes, and everyone dies. While RPGs often hand wave that first one, the second is very much a part of most games. While danger is a part of every storyline, and there's no telling if your character will die at the hands of an insidious booby trap, in the jaws of a dragon, or on the receiving end of a dire spell, the question you should always ask is if they were given the choice, how does your character actually want to meet their end?

Death can come in many ways.

For example, does your character want to die in battle, believing that is a noble end for a warrior? Or do they want to die that way because their faith tells them warriors ascend to the highest of heavens? Do they believe they have committed some great wrong, and they will never stop fighting until they are slain in open combat? Or, as with our introductory story, do they know they have a limited time in this world already, so they throw themselves into danger in the hopes that something other than their degenerative disease or awful curse will kill them?

Alternatively, does your character wish to live a long life? Do they have too many places to go, and too many things they want to do, to cut their life short so soon? Do they fear death, and they're hoping to find ways to prolong their life during their adventuring career? Or do they simply wish to die in a way where they'll never know it happened, such as peacefully in their sleep?

Whatever your character's attitude toward death is, it matters because that will shape not just how they approach an adventure, but also how they respond to danger. It can also lead to serious moments of character growth.

For example, a character who is looking to die gloriously leaping into battle against overwhelming odds is completely expected. However, a character who fears death, or who has always done what they can to save their own skin taking that kind of action is a mark of someone facing a serious fear. Additionally, a character who was wanted to die in service to their god so they can be reunited with their loved ones in the afterlife allowing themselves to be raised from the dead to help their companions is a mark of great loyalty, and shows that they are growing beyond the singular desire to leave this world to enter the next.

If you're looking for more ways to get insight to your characters, consider grabbing some of the following supplements that I put together for just such occasions:

- 100 Questions To Ask About Your Characters: If you're looking for additional ways to get a slightly better grasp on who your character is, or to discover unexpected things about them, these 100 questions can give you some surprising insights!

- 100 Character Goals and Motivations: It's important to know what your character is hoping to achieve, and in some cases whether a particular death for themselves is actually on that list!

- 100 Dark Secrets: Whether it's a shameful past, a terrible disease, or even a curse, many characters have secrets they hide even from those closest to them... and it might be the very reason they put themselves in such danger.

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!

What Languages Does Your Character Speak (And How Has That Shaped Them)?

Languages have been an important facet of tabletop roleplaying games ever since the start of the hobby. After all, how many times has there been an inscription on a magic weapon, or a line in an eldricth tome, that offered a massive clue to the party if they could decipher it, and which set you up for a hard time if you couldn't?

The words Bree Yark come to mind, and for those who don't speak goblin, or aren't familiar with this incident, it shows exactly what it is I'm talking about.

However, the languages your character speaks is more than just a mechanical advantage or disadvantage... it also tells you a lot about them, and it helps make their story that much more interesting. Which is why you should examine this corner of your character sheet, and ask why it looks the way it does?

Fear not, friends, I can read this dread tome... though it may cost me my sanity.

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!

Language Expresses How You Experience The World

Which languages you can speak and write is a testament to where your character comes from, and the things they've done in their lives. For example, if a character speaks a language like draconic, that might mean they're trained in the magical arts if the language of dragons is the language used for spellbooks and magical scrolls. However, it could also mean the character was raised by a dragon, or in areas declared a protectorate of dragons, and thus needed to be able to communicate with wyrms. Or if they're a barister from a nation whose legal codes are written in the language of dragons, they might be very familiar with the language, even if they have no training in magic whatsoever.

They gave us our laws, and we honor them with the initial language they were written in.

While we typically think of languages as things you learn growing up, or things you learn in school, it's important to also consider that they're things you pick up in your travels. A wandering sellsword might speak one of the most common elven tongues simply because he traveled with an elven mercenary for a time, and he wanted them to have a shared tongue to communicate in privately. Did a bard learn one of the more common dwarven tongues so he could properly perform their drinking songs? Did your halfling favor a tiefling, and so he tried to learn infernal to impress them?

There are a dozen and more ways one might come to know a particular language, and the story of why your character knows a certain tongue can be an interesting facet of their history, and who they are. However, there is another aspect of language that is important to consider... how it shapes concepts your character knows, and the way they think! Consider the following line:

Roses are Red, Violets are Blue

Now, anyone who has looked at flowers knows that violets are, in fact, purple. However, at the time these words were written, we did not yet have the linguistic concept of purple in our lexicon. Or consider a language where the term of ultimate endearment roughly translates to, "This is the one I hate the least."

The languages your character knows give insight into the kinds of cultures they understand, and the way they see the world. As an example, there might be a saying that, "The orcs of the Cartoran Hills have a thousand words for enemies, but none for friends," might paint a picture of a society that is very focused on betrayal, grudges, and enmity, with the very idea that some people are deserving of trust or love to be a foreign concept. By contrast, you might find the language of a society of gnomes who grew without any kind of serious, armed conflict doesn't have a word for war because the very idea of war as a concept is something they haven't conceived of. One might also find that languages like infernal do not have words or concepts like freedom, because in the worldview of devils there are contracts and requirements, and all things one does is in service to their role in a greater, cosmic machine. None are truly free, because all are bound by obligations.

These sorts of things can all give interesting insights into concepts your character does or doesn't understand, and the way they view the world. It also gives you some idea of the customs they'll grasp, or the social aspects they should understand, so that you can add a little extra depth to your roleplaying!

Additional Recommended Reading!

If you found this week's entry thought provoking, consider picking up some of my character-centric supplements:

- 100 Questions To Ask About Your Characters

- 100 Character Goals and Motivations

- 100 Dark Secrets

- 100 Fantasy Professions (That Aren't Adventurer)

As always, all sales of my supplements put royalties in my pocket, so grab a copy for yourself, and if you like what you read, leave a review so I can keep writing more of these in the future!

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!

Three Truths And A Lie (A Way To Build Character Reputation)

Whether we're playing a high-level character who comes on the scene with a huge list of deeds, or you and the rest of the table are rucking up at 1st level, chances are your characters have some kind of reputation. Even if it's just a local one known throughout the county, folks are going to know about them. They might be a leg breaker with a long rap sheet, a sorcerer whose temper tends to result in things (and people) bursting into flames, or a paladin who might be thought of as good-hearted but a little mad, everyone's story is a little different.

I talked about this generally back in The Small Legend: Character Reputation in RPGs. However, this week I'd also like to talk about a method I've used in the past. It's something you may even have done yourself... it's Three Truths And A Lie.

Most importantly... don't tell people which is which.

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!

Where Is The Truth, And Where Is The Lie?

Reputations are words in the wind, and different people will hear different things when that wind goes past their ears. Because of this, it makes us ask not just what our characters have actually done in the past, but what people have heard about them doing. The last time I did this little experiment was for my Pugmire character Brother Bernard. A cleric of the Church of Man, and an adopted son of a minor noble family who made their name as defenders of the city, the towering holy man was rather shy, but he was a stalwart friend.

But what did the people of Pugmire know about him? Or what did they think they know?

- Bernard has been regularly seen in the low-end dives and brothels of the city. He seems to be well-known by those who make their coin in those places.

- During the daily walk, Bernard always takes the same route which goes past the Doberman estate. Folks are beginning to wonder if this is connected to his duties as a clergyman.

- Bernard is adopted (an obvious statement, as his parents are corgis), but most thought he was a nobleborn bastard. Others, though, have suggested he's of common stock, raised through the generosity of his family.

- Bernard is not leaving the city to "adventure," but because his family is running out of money. Only through getting his hands on some sacks of plastic will he be able to keep them in the lifestyle they're accustomed to.

Which do you think is true?

There's nothing particularly outstanding or bizarre about any of these rumors, but what other players could gather from them was that Bernard was an adopted son of a noble family who entered the clergy, who seemed civic-minded, who might have some personal vices, and whose family might be struggling. Which rumors were true, which were false, and which required more context to fully understand, no one could be sure when the game began... but they had a starting impression of the character all the same.

This gives you an interesting situation, because everyone knows of everyone else, but they might not know them for sure. Is that sorcerer really a loose cannon, or did their powers get away from them once when they were still learning to control them? Did that rogue really kill all those people the sheriff seemed sure she did (and for no reason)? And is your party's cleric really spending all his free time getting drunk and sporting down at brothels, or is he going there because that's where the people most in need of help, guidance, and spiritual counseling happen to gather?

For some additional resources, consider checking out the following supplements:

- 100 Questions To Ask About Your Character

- 100 Tips And Tricks For Being A Better Game Master

- 100 Dark Secrets

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!

Always Fill In Background Details To Make Your Character MORE Involved Rather Than LESS

In a lot of games that use a Vancian magic system (the one most common to Dungeons and Dragons, and similar systems) there is often an interesting trick that allows prepared spellcasters (such as clerics who pray for specific spells, wizards who go through the rituals out of their spellbooks, etc.) can use to maintain their flexibility. What they do is allow you to essentially reserve a spell slot (or several of them, if you so choose), leaving it purposefully empty so that it can be filled with a spell at a later time. So if the party is traveling along, and they find an inhospitable environment, a poisonous fog, or some other condition that knowing just the right spell could fix, the caster can take a few minutes to memorize the appropriate spell, and then deploy it using that empty slot.

Now, there are discussions about just how effective this can be as a strategy in a mechanical sense. However, this logic of leaving wiggle room so that you can adapt to unforeseen circumstances is something I'd recommend more of us actually do with our characters when it comes to the details of their stories. Because even those of us who write several pages of background often leave plenty of white space that we can fill up at appropriate story moments to help keep things moving forward.

Let me explain...

Even with all these notes, there's a LOT you didn't cover.

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 There's Nothing There, You Can Fill It In!

To illustrate what I'm talking about, let's take a very low-stakes example. Say that your party is all meeting at the local tavern, and you ask your Game Master what the current specials on the menu are. And because your GM recently picked up a copy of my 100 Fantasy Foods, they tell you that salamander steaks are currently on offer. A unique meal due to the salamander's resilience to heat and fire, they tend to be raw and bloody, scorched with acid and flavored with citrus. That sounds interesting, so you decide that your dwarven wizard is going to order that.

However, you choose to take things a little further. Because you know that Hervarth was raised in a forge mountain, skilled at enchanting magic weapons and armor as part of his learning in the ways of spellcraft, you decide to add into his backstory that salamander meat was something he fell in love with during his study as an apprentice because it was always available around the mountain (since the beasts were drawn to the fiery hearts of the forge). Perhaps this is a sign that this particular tavern is relatively close to the mountain he trained at, or it's surprising for him that this meal is available so far afield, but either way it sets up a little detail, and gives your character something to be excited about, while paying off a minor detail the GM slipped into the session.

The power of imagination!

This is the sort of thing I mean about filling in the blank parts of your character's canvas. If there's a detail about their past that hasn't been established as canon yet (like their favorite food), then when an opportunity arises you can capitalize on that detail to fill in a previously unexplored part of their character, revealing it to the rest of the table in a way that adds to the scene.

However, you can do this for big details, as well as small ones.

For example, say you're playing a hard-as-nails rogue. You've been a bandit and a highwaymen, you were a gang enforcer, and there is no dirty job you won't do... but when a bunch of kids start eyeing the party, he pulls a small, bean-stuffed leather ball out of nowhere, and teaches them a game they can play with it. Soon they're laughing, kicking it back and forth in a little circle, using their elbows, feet, knees, and heads to keep it in the air as long as they can.

Why does the scarred, cold-hearted bruiser have a soft spot for kids? Maybe he had some of his own that he hasn't seen since their mother left. Or since they died; collateral for the life he led. Maybe he was an elder sibling, and he got into the life he's in now to get the money to take care of his baby brother and sister, so he knows how to entertain and bond with younglings. And if a quest hook comes up where the children are in danger, a quest hook with little to no monetary reward, that little background detail might be enough to drag the money-up-front mercenary into a fight for a good cause.

These background details you add to your character on the fly could be as a simple result of a roleplay opportunity, as mentioned above. They might be a result of an absurdly good skill check (perhaps the dark-eyed ranger knows so much about religion because their mother is a priestess, and the two of them haven't spoken since she rejected the cloth and the oath of her order). But the idea behind filling in your backstory is that it should always be done with the express purpose of adding to a scene, rather than taking your character out of it.

For example, if you hear that a monastery was attacked, you could add in that your brother was inducted into that order, and you have to find out if he's all right. You shouldn't decide that your character has a negative history with that monastic order, using this grudge as a reason not to get involved. If you hear there are bandits terrorizing a town, you should feel free to add in that you have history with one or more of the bandits in that gang, and you're going to at least stop them, and possibly settle a grudge or two along the way. You should not decide you have a heretofore-unmentioned bounty on your head in that region, so you can't go there and risk being recognized and arrested.

And so on, and so forth.

The goal should always be to keep the momentum of a scene going, not to put the brakes on. If the addition you're going to make is going to stop your character from getting involved, or give you an excuse not to go down a story path, or to remove you from a scene, that's not a good addition. Much like improv, you want to be able to say, "Yes, and," when you add something from your character to the scene.

For additional, related examples and advice, consider checking out Find A Reason For Your Character To Get Involved. And if you're a Game Master who wants to build off of the supplement I plugged earlier, then I'd recommend grabbing your very own copy of the Inn & Tavern Bundle to get a slew of useful resources that just might end up adding to your characters' backstories, as well as fleshing out your setting!

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 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!

How Imperialism, Trade, and Cultural Exchange Affect Your Setting And Your Characters

In the days of ancient Rome, the massive highway system allowed the empire to be traversed with relative ease when compared to rough overland travel where roads didn't exist. These highways also allowed for rapid deployment and movement of the Roman legions, which were the strong right hand of the empire. This also facilitated one of the empire's policies, which was to ensure that legionairres would never be deployed to the areas of the empire they were from. This helped ensure unit loyalty, but it also meant the legionairre would never be asked to stand on the other side of a shield wall against their friends and neighbors, thus helping to remove that conflict of interest from their service. One of the interesting effects of this strategy was that we had legionairres of African and Middle Eastern descent stationed in what would eventually be Great Britain.

While this is a relatively small historical factoid, it illustrates a much bigger point... that imperialism, commerce, and cultural exchange can have huge, wide-reaching effects on any world. And if you're going to be designing a fantastical setting, you should really keep things like this in mind.

Piracy, on a large enough scale, can also become a cultural force!

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Lines on a Map Mean Almost Nothing

I talked about some of these ideas back in De-Coupling The Idea of Race and Nation several years ago, but I wanted to take an even bigger view of things this week. Because when we look at our worlds and settings we have this habit of coloring inside the lines of particular nations, and forgetting that these settlements, countries, and cities aren't completely isolated from one another. As long as there are wagon trains, merchant caravans, shipping lines, tourism, wars, and imperialism, there's going to be exchanges between different groups of people. Some of these exchanges will be good, and some will be bad, but they should always be present in your setting in order to make things feel organic and believable.

Our real world history is full of examples of these kinds of exchanges, good, bad, and otherwise. For example, consider that tomatoes are not native to Europe. Neither are potatoes, for those who are curious. Both of these were brought back by expeditions to the New World, and they were adapted into many European cuisines and dishes so that, after a few centuries, we couldn't picture Ireland without spuds, or Italy without tomatoes. This simple exchange, spurred by imperialism, led to a massive shift in culinary culture. Then when U.S. troops were deployed to Europe during the second World War, particularly those who were in and around Italy, they developed a taste for pizza. This led to a boom in demand for pizza that started in New York, and which less than a century later meant this was a food that was readily available not just across the country, but around the world in many cases.

It's all connected!

The effects of cultural exchange can happen rapidly, or they can happen over the long-term, and they can be caused by all kinds of different exchanges. For example, the American film industry exports all over the world, and so it is our narratives and stories that end up in so many other countries (for good or for ill). Before that, books written by British authors were often read by people throughout their area of influence, exporting their culture, language, and ideas. You can see remnants of this today in that British fashions, slang, and even customs are still practiced in places thousands of miles away from their tiny island even though the empire crumbled some time ago.

So when you make your fantasy world, and you're asking what sorts of things people are going to experience or run into, consider the following categories:

- Commerce: What goods get traded between cultures and nations? Who is most known for trading, and what reputation does that give them? What kinds of exchanges has this relationship led to, whether it be those who are used to seeing the dragon prows of northern sailing ships, or the tents of impromptu markets set up by traders from the distant plains, this can shape the experience, and which culture people tend to associate this experience with. Trade languages and so-called lingua franca often emerge from this kind of exchange, as well.

- Imperialism: When a nation establishes a colony, or occupies another country, one of the major strategies they use is establishing cultural norms (for good or for ill). Did opera and theater become more commonly available after an annexation, using the entertainment of the occupying force as a way to imprint their culture on those they hoped to rule? Did they force a particular religion to be practiced, while outlawing more traditional faiths and practices? Was military conscription more common, hoping to create loyalty and integration through service? Was a new language made mandatory either by law, or simply because it wasn't safe to be able to communicate with the empire? This can often decide what the "common" tongue is in an area, even if the empire that established it has fallen.

- Cultural Exchange: When people meet peacefully, and learn about each other, there is often some kind of cultural exchange taking place. Whether someone is a tourist, a traveler, or two nations have established a friendly relation and are encouraging the mingling of their subjects, this can often lead to a more widespread exchange of norms, ideas, etc. For instance, if tattooing is an art form with a long history in one culture, and enough outsiders and visitors participate, does that create a craze back home that leads to an expansion of that art form? Do certain fashions become trendy, whether it be for clothing, makeup, hairstyles, etc., thousands of miles away because they're seen as exotic and unique? Do students attending foreign universities bring back the knowledge they gained, disseminating it in their own country like planting a seed of foreign ideas that adds to their own culture and capabilities? Or does a natural disaster lead to an influx of refugees, who end up bringing their culture, ideas, language, etc., to their host nation, sharing a bit of themselves with their new home?

All of these issues are complex in a world without fantastical creatures and reality-altering magic... but when you can add in all those extra elements, you can end up with some truly interesting ripples in your world.

For example, do certain dwarven nations or guilds have particular methods of crafting enchanted items? What happens when human apprentices try to mimic those methods? Can they master them, or must they change and alter them, keeping the core of the methods, and imprinting many of these ideas into magical manufacture methods the same way certain architectural styles can shape the entire look of a city for centuries to come? Was slavery widespread enough that the trade led to entire ethnic groups (or even entire diaspora of a particular species) being displaced, and having to rebuild their culture from the ground up once they were freed? And has that experience, even if it was generations ago, left marks on the society that enslaved them, leaving them treated as second-class citizens, and facing unique struggles? Is there a particular job associated with a particular ethnicity, nationality, or species because they're the ones who have traditionally done it, with their unique styles and methods carving out a niche in a particular culture?

So consider whether traditional, elven cuisine is popular among the kingdom of Hartur, and ask why that is. Ask yourself why a particular language became the local common tongue, and whether it was through mass education, trade, imperialism, or for some other reason. Are there slang terms from a local dialect spoken by a particular orc clan or diaspora that have woven their way into common parlance, and if so, why? All of these questions can have interesting implications on the history of your world, why cultures exist the way they do, and it can make your setting feel that much more real... even if it does make it a lot messier.

And for those who are looking for some inspirations to add to your game (along with potential cultural implications) consider some of the following:

- 100 Fantasy Battle Cries (And Their Histories): From ancient armies to modern mercenaries, battle cries can say a lot about where a warrior comes from, and why they fight.

- 100 Fantasy Tattoos (And The Meaning Behind Them): Tattooing is not universal to every culture, but this art form tends to spread the more cultural interaction one has. And if you need inspirations, consider some of these tattoos, along with their histories and meanings.

- 100 Fantasy Foods: Whether you're looking for the kind of street food found in a dwarven hold, or asking what sort of cuisine is considered highbrow among elves, this supplement is full of ideas for you!

- 100 Superstitions For A Fantasy Setting: What becomes a superstition can often say a lot about a culture, and how its prejudices and stereotypes form. So consider some of these to plant as seeds in your world!

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 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!

What Lines Will Your Character Cross in Pursuit of Their Goals?

For the past year I've been releasing a new supplement for my Sundara: Dawn of a New Age setting every month. While I've covered locations and species galore, one of the releases that put my brain into a whole different gear was Gods of Sundara, because it was this book where I made it clear that this is a world and setting without alignment... a place where there is no such thing as universal good or universal evil. And while there are spirits and powers, gods and outsiders, there are no angels or devils. What is good and what is evil, what is right and what is wrong, needs to be determined by individuals for themselves.

This isn't a new take on morality in RPGs by any stretch of the imagination. However, thinking about a game in this manner gave me an interesting perspective. Because a lot of us have an idea of our character's morality, but we don't always ask how it's going to act under pressure. Or, in other words, how far will they go in pursuit of their goals?

Rules? Oh, those don't apply to me.

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How Badly Do You Want It?

There was a comic I saw a long time ago where two men were talking. One said to the other, "I really want to be rich." The other said, "Then go rob a bank." The first man was appalled by this, "I can't do that, that would be wrong!" The second shrugged and said, "Then I guess you don't want to be rich that badly, do you?"

Guess not.

The comic went on with the second man listing different immoral (or at least highly questionable) things the first man could do to get rich. He said no every time, but it was never because he disagreed that doing this thing would, in fact, put a lot of money in his bank account. It was always because the act was deplorable, or harmful to other people. It showed that, while the individual would have liked to be wealthy, he was not willing to compromise his morals in order to satisfy that want.

While the first character didn't come out and state his morality, we saw it in what he was willing to do. And this is something we don't always think about when it comes to our characters. We think about their goals and their driving motivations, but we don't always ask what they'd be willing to do in order to achieve them. Or, more specifically, what they wouldn't be willing to do.

For instance, say you have a common sellsword who dreams of one day being knighted, and climbing the ranks of the aristocracy to become a noble. How far are they willing to go in pursuit of this goal? Will they guard caravans against desperate people, using lethal force if necessary? Will they accept the patronage of a corrupt, or even wicked, nobleman if it means they're one step closer to their ultimate end? Who are they willing to oppress or kill as long as they can step over those bodies on their road to the castle? Is the title, the prestige, and the position more important than what they had to do to get there? And if not, then where do they draw the line?

Or, to reach back to the advice I gave in both 5 Tips For Playing Better Paladins and 5 Tips For Playing Better Clerics, it's one thing to have vows and a stated code of morality. But if those things are never tested, or put under any kind of pressure, then how strong can they truly be?

Everyone Has Their Own Lines

Something that's worth pointing out is that every character should have their own lines in the sand, and where they draw those lines should be informed by their culture, their religion, their history, and their experience. And while those reasons may seem arbitrary to other people, it's important that the rules have some internal consistency to the character themselves.

As an example, someone raised by a street gang who had to steal for a living may have no compunctions against theft in general, but they draw a hard line at stealing from friends and family because they're the only ones you've got on the street. Alternatively you might have someone who grew up in a strict warrior culture, with specific rules and codes about managing shame and demanding satisfaction for insults given. How much of that clings to them, and how much they care about once they're not living within that society may vary, though. Someone may feel that violence is wrong, and that there is no worse act than taking another person's life... but do they feel strongly enough to stand by that principle when they're in danger? When a loved one is in danger? What about when someone near and dear to them has been killed?

Lastly, it's important to ask what happens when a person crosses a line. Do they feel bad? Did the ends justify the means? Do they resolve to never do it again... or does it get easier to cross it because the last time you did it achieved the ends you wanted? Does it change their morality in meaningful ways, re-orienting their position as they go forward?

These breaking-point situations are often what creates some of the greatest drama in our stories, because it makes us ask whether a character's morals hold strong, or if they go further than we, their comrades, or even the antagonist expected them to go in order to achieve their goals. So take a moment and ask yourself what your character is going to do when the chips are down, and a decision needs to be made.

Like, Follow, and Stay in Touch!

That's all for this week's Fluff post!

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 thriller Marked Territory, it's sequel Painted Cats, 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!

Does Your Character Leave a Calling Card?

The overseer stood, arms folded as she looked at the destruction. Crates had been smashed open, or in some cases thrown out into the water. Weeks of effort and sweat, ruined. The guards sat on the floor, being tended to by healers. Eyes were swollen shut, lips split, and in several cases teeth had been shattered. Arnulf was still slipping in and out of consciousness, dealing with a severe concussion.

"Was it him?" she asked, without turning to look at Gerand. The small man winced as if she'd struck him.

"It's impossible to say for certain," Gerand said. "But... whoever it was, they left this."

He held out a flower. It was a simple, white rose dotted with scarlet droplets. The corners of the overseer's mouth turned down.

"It was him," she said, her voice flat.

"Should I double the guard?" Gerand said.

"The damage is done," the overseer said, turning on her heel and storming out. "I have a letter to send. We can't stop him with what we have on-hand."

I don't want a bouquet of these when all is said and done.

Before we get into the meat of this week's topic, I wanted to let folks know that I'm trying to get more active over on Twitter, so if you haven't followed me there, I'm @nlitherl. Also, for folks who want to get all my latest nonsense right to their inbox, consider signing up for my weekly newsletter as well!

Does Your Character Have a Calling Card?

Despite all the shady, illegal, and violent things our characters often do in game, sometimes we want to take credit for those actions. We want people who come across the aftermath, whether it be in the form of a bloody battlefield or a burned down prison, to know who did it.

That is where the calling card comes in.

Some are, admittedly, more horrifying than others.

Taken from a Victorian custom, a calling card was originally a method of announcing one's presence and requesting a visit. The practice has largely fallen out of favor, though modern business cards are one of the last vestiges of it. The phrase, "To leave one's calling card," means to leave some sort of mark behind to let people know you were there. Something associated with your character that declares in no uncertain terms that you are the one responsible for what the onlookers are seeing.

It might be a bloody, four-fingered handprint left behind by the Maneater (one of the gang leaders in 100 Random Bandits to Meet), a banner planted on a field of battle by a victorious order of knights (such as the ones in 100 Knightly Orders), or just a gang tag painted on a wall of a black skull, a green serpent, or a red jester (such as the ones you'll find in 100 Gangs For Your Urban Campaigns). A calling card can be as personal or as unusual as you want, from a playing card left on the body, to a red rose swapped for a stolen item, the nature of the calling card is completely up to you!

Heck it could even be a particular battle cry, letting people know just who they're fighting, and telling onlookers who's responsible for the ensuing carnage. I put together quite a list of those in 100 Fantasy Battle Cries (And Their Histories) for folks looking for inspiration!

Why Leave a Calling Card?

A calling card serves a couple of purposes in a game. First, it's one more personalized detail of your character. The story of what the calling card means, how you chose it, etc. feeds into your Small Legend, and makes the character that much more unique and interesting. However, a calling card can also help in games that are more stealth-focused, or where players are creating personas and identities that are different from themselves so that when they take off their armor, their robes, or other accouterments they can still live a relatively normal life. Like Bruce Wayne, or the members of KISS.

And if you're going all-in on a calling card in that way, you might also want to check out my 5 Tips For Playing Better Vigilantes article.

Heroes and villains alike may benefit from this.

Even if you aren't trying to create the identity of some phantom thief or of a dark avenger, calling cards are useful ways of taking credit for your deeds. When someone comes across the wreckage of a battle, and they find every body has been decapitated, the heads stacked in a pyramid, they know this is the work of the Skulltaker. An arcane mark that's as unique as a fingerprint makes it clear when something was the work of the sorcerer Gildan Fey, and as their deeds grow so does their reputation. And so on, and so forth.

However, there is also a risk that comes with calling cards. If they're easy to duplicate, the narrative can get away from you. If someone mimics your calling card, leaving it at the scene of a crime you didn't commit, that can be a problem. If a rival outfit wants to tarnish your reputation, or a rival gang wants to convince the city watch that their deeds were committed by someone else, they might fake your calling card to throw the scent onto you. On the other hand, if you've established that you always leave your mark, then you might choose not to leave a calling card when doing something you'd rather people not know you were responsible for.

At the end of the day, a calling card can be a fun little addition to a character, whether it's a PC or one of the antagonists they're trying to deal with in the campaign. So if it's not something you've considered, take a moment and ask what your character would leave to let people know they'd been there!

Like, Follow, and Stay in Touch!

That's all for this week's Fluff post!

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 thriller Marked Territory, it's sequel Painted Cats, 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!