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

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

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

Night painting emphasizes clear sight, and smooth dexterity.

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What Was Your Normal?

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

The list goes on, but you get the idea.

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

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

Things might get... complicated.

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

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

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

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

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

Sometimes It's The Little Differences

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

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

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

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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.

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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!

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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!

Players, Remember, Nobody is a Jerk to Everyone All The Time

We've all shared a table with this character at least once. Maybe it was the rogue who always seemed to have a veiled threat when they interacted with anyone. Perhaps it was the barbarian who always bullied people to get their way. Or the wizard who talked down and condescended to everyone else because, as evidenced by their stats, they were clearly the smartest person in the room at any given time. Even if you liked the player, or you recognized what they were trying to do with their character, after a while you just couldn't put up with it anymore.

Because no matter what happened, no matter what you did, or how you tried to roleplay with them, the character had one setting, and it was being a jerk. That was their whole thing, and no matter what buttons you pushed they just didn't seem interested in shifting gears.

Got a problem? Fight me!

This week I want to remind players of something; no one is a jerk all the time, and to every person they know. Everyone has their moments of thoughtfulness, apology, camaraderie, and even support. Everyone has people they want to stay friends with, whom they want to like them, or who they know they cannot afford to burn bridges with. Being unpleasant all the time is just playing one note, and it's a note people get tired of really, really fast.

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You Don't Have To Be Nice (Just Don't Be a Pain in The Ass)

To get out ahead of the strawman criticisms on this point, I'm not saying that all our characters need to be kind, good, nice, or accepting. You don't have to bake cookies and give everyone cool nicknames like you're coaching a little league team. What I'm saying is that to avoid a concept from becoming a one-note character, you need to develop their attitudes more. Allow the character to change and grow, and let them have more than one way of interacting with the world around them.

And in this context, remember that a tabletop RPG is a team sport. All of you are in this together, which means you've got to be able to work with each other.

One more word out of you, and I won't heal you till next week. We clear?

I talked about this back in Make Sure Your Character is as Fun to Play With as They Are to Play, but that entry mostly focused on the meta concerns of gelling with the rest of the table as a player. For this entry I want to look at characters who always seem to respond with snark, hostility, or some sort of aggressive dismissal, and point out that it's a pretty shallow take.

Because you can totally still play characters who act this way... but you need to understand why they act that way, who they act that way toward, and to ask how that element will add to the story rather than taking away from it.

Hey! Nobody Talks That Way To The Wizard But Me...

As an example of what I'm talking about, take your stereotypical barbarian/wizard friction. The barbarian is distrustful of the wizard's academic approach, and dismissive of their use of magic instead of muscle. The wizard considers the barbarian ignorant and savage, always escalating situations pointlessly out of ego, or some backward idea of honor. This situation starts out rough, probably with the two of them either ignoring each other, or trading barbs because neither can do what the other can.

Over time, and the progression of several levels, their relationship begins to change. Uther charged in, sword swinging, to save the wizard from an assailant who could have killed him. And when battle was joined another day, Egregor used his spells to fill Uther with strength, and to protect him from the onslaught of their foes. Their barbs became duller as they began to understand each other, turning into a kind of rough camaraderie that one would expect between soldiers who'd served together, or brothers whose fights camouflaged their affection.

The sort of relationship where Uther might call Egregor a thin-wristed, moon-eyed wren, but let anyone else talk to the wizard that way and Uther will knock that person's teeth out.

Now apologize, before I get upset.

Characters who spend time together, and who face danger side-by-side, should see their relationships change over time, and the layers should be peeled back to reveal what's actually happening.

As a for-instance, the rogue who ran with a gang of toughs is used to insults being exchanged as a form of greeting, or friendship (with certain insults being signs of good relations, and others still maintaining their original, hurtful intent). So what seemed like a barrage of disrespect is actually how you can identify who their friends are. Over time a few party members pick up this patois, while the rogue learns to instead speak to the cleric in a lighter tone that still implies respect and familiarity, without shifting entirely to cold formality. Alternatively the grim, taciturn fighter who always kept to herself slowly comes out of her shell, learning to trust this group of adventurers she's signed on with. In time we find out that she's lost so many comrades that she simply didn't let herself get attached, using stoicism and silence to stop anyone from reaching out to her. After half a dozen levels, though, her party finds out she can cook, and when she's comfortable around you she'll even sing.

This Applies To Evil Characters, Too

The other side of the coin is that you might have a character who is a genuine bastard. There's no cultural misunderstanding for how they act, and no deeper trauma they're hiding; they're just nasty to other people because that is what gives them feelings of power. The ability to hit someone with a really nasty insult, or to outmaneuver someone socially, just makes them happy. Maybe they're not actually evil, just toxic, and they need to keep a strict social hierarchy (and to make clear where they are in the pecking order) in order to function.

Even in these situations, it's important to let characters change and grow as their relationships develop. And, generally speaking, to examine the goals, motivations, and self-preservation of the character in question. And while I covered some of this in 5 Tips For Playing Better Evil Characters, it's worth returning to.

Words are weapons... don't wound your allies, or they won't be your allies for long.

Consider the black knight. His handsome face is constantly twisted by a sneer of disgust, and his every word to those he sees as beneath him is dismissive and arrogant. He'll be the first to backhand a commoner for not bringing him his drink fast enough, or for what he sees as talking back to him.

But would he treat those in his party, his chosen band, the same way? Probably not. It isn't out of the goodness of his black heart, of course, but it might be out of a sense of respect, of honor, or simply of self-preservation.

The knight doesn't respect the hulking brute Caligras, but he knows the half-ogre is dangerous. So he plays the friend, treating him more like a favored hound than as an equal (or even as a person). The witch Tiberius is common-born, and claimed by fell magics to boot, but the knight respects his power, so he treats him the way one might a favored vassal, or a distant cousin. He doesn't want the witch turning those arcane arts from the enemy, onto himself. The same is true of the dark priest Fenethor, whose talk of blood and pain would be frightening were it not so constant. He doesn't waste time intimidating the servant of a flayed god, nor in trying to bully them. Instead he treats their interactions formally, as he would when discussing strategy with an advisor or a lieutenant upon the field of battle.

This lets you play the character as you envision them, but it also means your fun isn't rubbing the other players the wrong way. And even if you establish starting attitudes and opinions regarding others in the party (or even other PCs), those things can always change over time.

Just because a character felt, acted, or behaved one way at the start of the game doesn't mean they can't change as they go through the game. They're getting experience, after all, and experience is what allows all of us to grow and become different over time.

Also, for further reading on the subject, check out:

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

- Let Them Reap What They Sow (Actions and Consequences For PCs in RPGs)

- 6 Dos and Don'ts of Character Flaws

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, 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!

What Keeps Your Character Traveling?

There's a reason so many tales begin in the tavern... it's usually the one place that travelers gather to wile away the evening hours before they have to get back out on the road. And while there are some games where the party members are local to the area, those tend to be fairly few and far between. Heroes (and villains, for evil games) tend to come from afar, walking into whatever danger and adventure awaits them in the place where their adventure begins.

Before you put together another traveling adventurer with worn down bootheels and a cloak that's just getting ragged around the edges, take a moment to consider just how many reasons there are to be on the road. Because a lot of us only seem to think of the same handful to be from home when the plot thickens.

Also, road is sort of a loose term in this instance.

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Professional Reasons

The most common reasons you find PCs located far away from home when we first meet them is because they're looking for work... but that work is almost universally A) as a wandering sellsword, or B) as a traveling bard.

And there are some characters who tend to be a bit of both.

While there's nothing wrong with either of these reasons (and you can improve them by lifting some content from 100 Random Mercenary Companies as well as 100 Fantasy Bands by yours truly if you'd like), there are so many other options out there!

For example, consider the fantasy teamster. With her wagon and her mule she runs goods all over the region, and any trouble she meets out on the road gets a quarrel between the eyes from the crossbow she keeps locked up by her seat. Traveling peddlers, river boatmen, and sailors can also fall into this category. Or consider the barber surgeon, who can cut hair, stitch wounds, set bones, and pull teeth, but who tends to make rounds to a wider area in order to help as many people as possible while collecting modest fees. There's the treasure hunter who's always looking for that next big score, the forest ranger acting as a freelance guide, the cartographer who is making new, updated maps of the region, and the historian who's attempting to piece together parts of the past to provide a window onto what came before.

The key for characters who are traveling for professional reasons is that you need to give them a pressing enough reason to be on the move, but not something so pressing that they end up ignoring the adventure hook in favor of their personal travel plans. If the drunken master monk is a roadie/bodyguard for touring musicians, for example, you don't want them to be so committed to that role that they refuse to go check out the troll caves, or to stick around and help protect the town against bandit raids.

It's all about balance, and flexibility.

Personal Reasons

Much like the above section we see plenty of personal reasons for travel among PCs... but a lot of them tend to fall into the same, very broad categories. The most common examples I've seen of this are, A) Looking for revenge, B) Running from debts/commitments C) Some kind of rite of passage.

You met a man with three fingers on his left hand? Which way did he go?

Again, because I cannot stress this enough, there is nothing wrong with those reasons. They're old fall back positions, the same as the paladin that's a knight in shining armor, or the wizard that's an old gray-bearded sage. But they aren't the only options you have, and you can get a lot out of stretching your creativity in this case.

For instance, is your character having a mid-life crisis, so they decide to leave behind a steady trade or a growing business to go out and make their name as a hero? Are they hounded by visions and prophecies, driven toward certain places by the will of inscrutable gods (whether or not they're divine caster classes)? Did they want to get out of their small town to see the world before settling down to have kids? Are they looking for a long-lost friend, family member, or rightful owner of a strange ring they found that draws them on like an iron filing to a lodestone? Are they a really dedicated foodie determined to try all the strange dishes and unusual customs found in 100 Fantasy Foods?

There are hundreds of different reasons someone might find themselves on the road, far away from home. The advantage of personal reasons to travel, though, is that a good GM can take them, and weave them into the ongoing plot in order to hook a PC into said plot to satisfy the player's personal arc. Whether it's deciding to Don Quixote their way through a goblin siege on their old plow horse, or traveling to the capitol to taste the finest viands while also solving the murder of the duchess, players with personal reasons to be out and about can often be easily directed toward the plot with a dangling carrot.

Additional Resources and Inspiration

If you're going to be running a game that takes place out in the open world, and your PCs are going to be doing a great deal of traveling, then I would suggest checking out some of the following supplements for extra inspiration!

- 100 Random Taverns: One of my bestselling supplements, it's gone Electrum at time of writing. Whether you need a sports bar hung with regalia of tourney knights, a clockwork brewery, or a hole-in-the-wall run by kobolds, this supplement has you covered!

- 10 Fantasy Villages: Whether you need a place for your PC to be from, or you need unique locations for the party to stop in, this supplement has everything you need. Maps, histories, rumors, notable places, NPCs, and more can be found between these pages.

- 100 Encounters in a Fey Forest: Traveling through a fey forest is a unique kind of danger... people who are actually from such places might be seen as touched in the head by the rest of the world. For those looking for specific lists there's both a Pathfinder Classic version as well as a DND 5E version.

- 100 Encounters For on The Road or in The Wilderness: From road construction, to guard patrols, to mating wolves, and strange discoveries, there's no reason your PCs should ever have a dull moment when getting from point A to point B. And like the previous supplement this one comes in both a Pathfinder Classic version as well as a DND 5E version.

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, 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!

How Long Does It Take For Your Character To Go From 0-60?

There is a trend I've seen more and more over the years that I tend to call white rooming. In short, it is a tendency for players to create an ideal character build in a blank room, using optimal conditions, and assuming that the way it works in their head is the way it's going to work when they bring that character into game.

And as a spoiler alert, just because something works great under laboratory conditions that doesn't mean it's going to hold up when you put it out for a field test.

I don't understand... it worked PERFECTLY in simulations!

One of the most consistently overlooked aspects of character design is how long is takes them to go from 0-60. Because if you have half a dozen minutes to layer on protective spells, activate magic items, and strap on all your bells and whistles, then obviously you're going to be piloting a wrecking ball when it comes time to sneak through a fortress, break the back of the enemy, or whatever else your character was designed to do.

But what happens when you don't get that prep time? If you're caught with your pants down, so to speak, can you still get the job done?

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Action Economy And You

Action economy, for those who didn't read Understanding Action Economy (And Why You Need It), is basically making sure that you take the most efficient actions to get you to your end results quickly. And when it comes to revving up your character, it's often something we forget about, until we find ourselves in the middle of a life-or-death fight and we no longer have 5 rounds to get our game faces on.

He's coming right at you!

One of the best examples of going 0-60, in my opinion, is barbarian rage in Pathfinder. You can only do it for a certain number of rounds per day, but when it's your turn you can flip it on like a switch as a free action and just go. You now gain all the bonuses of this condition (which get bigger as you gain levels in the class), you can use all your Rage Powers, and it took no time at all to turn on. You just declared it, and moved on with your turn.

For all the complaints about barbarians, they are a class that can go from 0-60 quite rapidly.

However, say you had other things you wanted to add onto your character. Maybe you wanted to two-fist potions of bull's strength and bear's endurance to give yourself a little boost for the fight. Or perhaps you wanted to chug down a potion of barkskin. Drinking a potion takes a standard action, and you only get one of those per turn, which is going to slow your progress way down. Especially when you consider that potions need to be drawn, which is typically a move action.

So how do you deal with this? Do you just reserve your potion chugging for situations where you are going to ambush an enemy, or the bad guy is lost in a monologue, allowing you to fully hulk out? Well, that's one option. You could also take the Drunken Brute barbarian archetype, which allows you to drink potions (or alcohol) as a move action while you're raging. You could also keep a potion in a spring-loaded wrist sheathe, thus allowing you to draw it as a swift action. This would allow you to activate your Rage for free, pop the sheathe as a swift, drink the potion as your move action, and then leave a standard action to do something else. Drink another potion? Smash a bottle over somebody's head? There are all sorts of possibilities!

Another strategy is to focus on buffs and abilities that are either constantly active, or which last a particularly long time. Mage armor, for example, lasts hours per caster level, so if it's part of your monk's strategy for ensuring they have a huge AC, they can just reapply it from a wand once per hour (or have it cast on them by the party wizard at the start of the dungeon), and it will be ready to go if something happens. Many feats grant permanent abilities, and class features like a ranger's favored enemy are considered always on, which can make them more reliable since you don't need to spend your first few turns powering up. The drawback, of course, is these abilities are often situational. So if you're in the proper situation they're quite powerful, but otherwise they grant you no benefit at all.

Your Greatest Weapon is Your Allies

I said this back in Vulgar Displays of Power: Tips For Getting The Most Out of Your Magic in Pathfinder, but I feel it bears repeating. Your allies are going to be one of the best ways for you to rev yourself up quickly, because teamwork is a serious force multiplier.

Never underestimate the power of a helping hand.

Take this scenario. There's a big, angry giant coming the party's way and the barbarian needs to protect their companions. Instead of trying to balance self-buffing and engaging, though, their fellow party members take up some of the slack. The bard whips out a wand, and hits them with a bear's endurance. The transmuter casts enlarge person. Then on their turn, the barbarian activates their rage and charges.

The selfless actions of the other party members allowed them to act as corner men for their warrior, getting him ready to jump into the ring swinging hard. It also means that what would have taken the barbarian at least 2 turns to accomplish on their own was done before their initiative even came up on the first turn.

Teamwork is often key to making sure a character can go from 0-60 as quickly as possible. It's often not a glorious feeling, and it can be something that a lot of players resist because they'd rather be the one dunking the ball than providing the assist. But if you're all focused on overcoming the current challenge you're facing, it's important to make sure everyone shares in the credit, and recognizes how much they helped.

Because a party is so much more than the sum of its parts.

Looking For More?

I specifically mentioned that feats often give you odd abilities and strange wooge that can either be activated quickly, or which is always on. I've worked on a lot of these feats myself, which is why I'd recommend checking out some of the following if you want to help rev up your character's engine.

- Letters From The Flaming Crab: Inspired By Heraldry: A big collection of totemic feats that grant you (often permanent) abilities, I had entirely too much fun with this one.

- Feats of Legend: 20 Story Feats: Story feats are one of my favorite mechanics, and this is one of my best-reviewed installments in the entire Feats of Legend series. Highly recommend giving it a look if you just want more of these.

- Feats of Legend: 20 Orc Feats: While a little specific with the heritage of characters who can take and use them, I figured that folks who love playing orcs and half-orcs could use a bit of a treat.

Like, Share, and Follow For More!

That's all for this week's Crunch topic! For more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio! Or if you'd like to read some of my books, like my alley cat noir novel Marked Territory, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well! And if you'd like to help support me and my work, consider Buying Me A Ko-Fi or heading over to The Literary Mercenary's Patreon page to become a regular, monthly patron! Even a little bit of help can go a long way, trust me on that one.

Make NPCs Part of Your Story (It Makes Everything More Interesting)

"So, it is down to you, and it is down to me," Sa'Thirael said, standing from the throne of skulls he had been lounging in.

"Just us?" Shireen asked, raising one eyebrow.

As the sorceress entered the throne room, her companions entered behind her. The hulking giantkin Forufti, whose life she had spared in the Sky's Teeth mountains after Sa'Thrirael had tricked him into trying to kill her. The zipping blur of Black Morgana, the pseudodragon she'd freed from a cage in the lair of the assassin lord known only as the Red Spider. The dark-skinned minstrel Ariadne Asher leaned against the doorway, idly strumming her lute, a wicked gleam in her eyes as she took in every detail of the scene to be re-told once the battle had finished. The courtyard rang with the chant of the Thousand Swords, a company of allies that had flocked to Shireen's banner with every victory she'd won on her journey to the Throne of the False God.

"No," Shireen said, lightning beginning to spark from her fingers. "You are alone, Sa'Thirael. I am not."

And you will see why that was a mistake on your part.

The Friends You Make Along The Way

Every player has little tics, and one of mine is that I have a habit of stealing NPCs, and sucking them into my character's personal gravitational pull. Even in games where my character isn't a part of a larger organization, and hasn't taken the Leadership feat, I have this tendency to adopt NPCs who cross my path.

Because even if the NPCs aren't there to help the group mechanically (they're not fighting on the field, hauling our loot, or making us money), they still add to the story. Their interactions reveal things about the party's beliefs and histories, and they can add interesting support elements to the tale being told. And just because I'm the one who pulled the NPC in originally, that doesn't mean they're exclusively mine; they're a part of the story, and they may end up growing closer to someone else in the party over time, adding to their personal arc as things go forward.

All those little story points form a beautiful ring around the party after a while.

Something else I've found, though, is that when you include these extra elements that are attached to your character, it makes your character feel more like a part of the setting. It turns them into an organic element of the world, and that in turn makes everything in the story just flow better.

Which is why I recommend everyone try to either grab onto a few NPCs you meet along the way, or just pre-package your own as part of your backstory if possible.

How Do You Get NPCs To Add To Your Story?

As with most things in storytelling, the simple answer is, "You just say they're present, and bam, there they are!" However, since RPGs are a collaborative game (and sometimes it helps to have some useful prompts) these are some of the most effective situations I've found for adding support NPCs to a game in a "legitimate" way.

- The "I Know A Guy" Method: I talked about this back in The "I Know A Guy" Strategy For Adding NPCs To Your Game, but the short version is that when your group needs assistance, information, etc., ask who in the group knows a guy. Does the watch detective with the extremely high Knowledge (Local) check have a regular informant? Does the fighter who used to be a local champion have a fan that might get the party invitations to the duke's party? Stuff like this is the easiest way to draw in NPCs spun from the ether. A good way to tie these NPCs in is to make them part of your Small Legend, too, so if you're not familiar with that idea click through to read up on it.

- Hiring NPCs: Whether you take on a hireling to help carry loot, or a driver to mind the wagon, this is one of the easiest methods in the game to expand your roster. Because even if the character's purpose is to be your party's coachman, or valet, they still add to your party and can make for a fun expanded cast.

- Recruiting Defeated NPC: This one isn't just for video games, but it does require you to have a DM that will run NPCs who surrender, and whom Diplomacy can work on. Still, if you're in that sort of situation then it can be a ball to negotiate terms with former "villains" to earn their loyalty. Whether it's the orc raiders who just needed supplies who now operate as the guard staff of your party's captured castle, or the cleric of a dark god who reformed and found a new faith in order to redeem their past misdeeds, this can be a great way to continue the story, and ask what happened after. It also gives players a good reason to take NPCs alive, for any DMs out there.

- Class Features: The most common method of adding NPCs to your game is to do it via class features and in-game abilities. While some deride it as just looking for cheese, it is arguably the best way for a player to exercise some control over the narrative, and to have some characters that are entirely theirs to control.

If you take the Leadership feat, for example, you gain a cohort and a bevy of followers that can give you (and by extension the party) a wide reputation and a lot of support in small ways when you need it. Animal companions, familiars (especially improved familiars), and eidolons can also inject a lot of personality into a game, and act as ways for you to spiral out your character's story. Even something as simple as summoning monsters via spells can be a good way of injecting a little glimpse into the character's relationship with the cosmos beyond. While animals may not offer much in the way of story, the reaction of celestial and infernal creatures to the one who summoned them can offer fun details. Especially if you make it clear that you're summoning the same creatures again and again, implying they respect you, they fear you, or you have some power over them that can compel them to aid in your endeavors.

These are just some of the more common methods that I've found work in my games, so I thought I would pass them on to all the other players out there. However, as with anything else that happens at the table, you need to make sure your group (your DM included) is willing to embrace this kind of strategy. If they are, it can lead to a lot of great stories. If not, though, then you're going to end up fighting to try to bring in supporting characters to your narrative, and that can often lead to far more stress than it's worth.

Some Inspiration For Your NPCs

Whether you're a DM who wants NPCs on-hand for your players to interact with, or you're a player looking for some characters to implant into your backstories, the following supplements by yours truly may be just what you need to start the wheels turning!

- 100 NPCs You Might Meet at The Tavern
- 100 Random Bandits To Meet
- 100 Merchants to Encounter
- 100 Nobles to Encounter
- 100 Pirates to Encounter
- 100 Prisoners For a Fantasy Jail

Like, Follow, and Stay in Touch!

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

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

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

The Antipaladin of Pride

Gadran knelt on the stone of the causeway, blood running from beneath his armor. His handsome face was cut, one eye swollen shut. His holy symbol had been scorched from his shield, and smashed from his armor. His breath was ragged, and as he swayed, his head bowed, he prayed. Above him, his opponent removed her helm. She case it aside, and looked down at him. Her face was full and lush, beautiful in the way that a sword could be beautiful. There was pity in her expression, but no mercy.

"The hammer of the gods," she said, speaking Gadran's title with contempt. "The shield of the realm. A warrior the likes of which is only seen once a generation, and this is what you fall to?" Valoran put the tip of her sullied blade beneath Gadran's chin and tilted his head up. She looked at him for a long, silent moment. "That is the problem with you, and with all the others like you, Gadran. All that power, but the only thing you know how to do with it is kneel."

She didn't wait for his response. There was nothing he could have said that would have surprised her, and she'd had enough of platitudes and empty writ to last her an eternity. She slid her blade forward, and walked past the Godhammer as he choked to death on his own blood.

All that potential, gone down to dust.

If You're Going Through Hell, Walk Like You Own The Place

Pride goeth before a fall, or so the saying goes, and if there is one flaw that's likely to lead to a paladin's fall from grace this is the one. Because when everyone tells you that you are righteous, that you do only good, and that you are the right hand of justice, it becomes very easy to equate your own wants and desires with what is right. While some paladins can step back to examine their own actions, spending time in contemplation in order to hold onto a humble perspective, others can't.

Those others often become antipaladins of pride.

So, you're approaching me? That's not wise.

An antipaladin of pride is an evil warrior who believes wholly and completely in their own powers. They take what they want, feeling themselves entitled to it. They may take foolish (or seemingly foolish) risks, such as fighting with their face exposed, giving their opponents advantages just to show how outmatched they are, or choosing to step in to personally make an example of their enemies rather than letting others fight for them.

However, an antipaladin of pride didn't get where they are without being cunning, vicious, and willing to do whatever it takes to achieve their ends. While they may come across as a narcissist (as many of them no doubt are), these antipaladins are willing to go to horrifying lengths to salve their egos, and to justify their pride. There is no weapon too dire, no god too blasphemous, and no deed too dark if it means they can, indeed, prove that they were right all along.

When One is Guided by Pride

When putting together an antipaladin of pride, it's important to follow one of the key pieces of advice in 5 Tips For Playing Better Evil Characters and ask what their motivation is, and how it ties into their pride. Are they out to conquer a kingdom because their counsel was ignored, leading to a lost war, or a revolt? Do they feel the gods turned a deaf ear to the suffering of others, putting all these petty rules into place, so they become judge, jury, and executioner, walking a darker path and proclaiming themselves above the gods? Are they killing their former brothers in arms, showing that they were always the strongest among their old order, and they should have been placed in rulership over them?

Swear your oaths anew, and when you rise you will be stronger than you ever imagined.

The thing to remember is that, while satisfying one's ego should always be a key part of an antipaladin of pride's modus operandi, they can be very complicated individuals within that framework. In fact, many of them may see themselves as obligated to look over those they deem as their people, because who else will do it? In some instances this may lead to crazed despots who demand the public sing their praises, but it could also lead to intensely loyal nation stations who view the antipaladin as a benevolent dictator despite their wars and the summoned demons who guard their black palace. The antipaladin protects them, and for that the people will worship them.

It's also important to make sure you know how your antipaladin of pride will fit into a group, and how they work within a party (whether they're good or evil, as the Tyrant with their LE alignment can often work with those of a varied background). In this situation, don't bring a character who flies off the handle and demands a duel to the death whenever someone criticizes them. Instead, it might be a better idea to bring someone who can act as the party's face, and who may think of the others as their minions (though it would be rude to call them such). Perhaps they will only put forth a minimal effort unless they deem a threat worth their attention, or they will lord their unique capabilities over the others, such as an antipaladin's immunity to the effects of disease, using their ability to spread a contagion to cripple a city and all its inhabitants as proof they are the most powerful among their companions.

These characters may come across a little arch, and slightly operatic, but those are things you should lean into if you really want to have fun with them. Whether you're going for a Darth Vader or Dr. Doom vibe, just remember, you didn't fall... you dove, just to show you could.

Lastly, if you're looking for some wicked inspiration, check out my most recent release 100 Cults to Encounter, as well as the recent Electrum seller 100 Random Bandits to Meet where you'll meat cannibalistic killers, as well as legendary bandit captains like the possessed Darkskull!

Like, Follow, and Stay Tuned For More!

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

For more of my work, check out my Vocal and Gamers archives, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my sword and sorcery novel Crier's Knife or my most recent collection of short stories 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!

It Only Has To Happen Once (Weird PCs, and The "Special Snowflake" Argument)

There is an argument that happens a lot at gaming tables, and it's one that's confused me the older I've gotten. It is, in general, the idea that wanting a player character to be unique or special in some way is inherently bad, and that it somehow represents poor storytelling on the part of the player proposing the idea (or on the part of dungeon masters who allow such characters).

Sometimes it's a player who wants to bring in a race that isn't typically seen in a certain environment. Other times it's a desire to play a certain class that's deemed unusual, or even mastering a strange method of magic, or esoteric fighting style. But any time someone asks to bring in a character that has something weird, wild, or unusual, there's all too often a push back against it purely because it's something out of the norm.

This is a bad habit, and it's one that I think we should all step back to examine.

Seriously, guys, calm down.

PCs Are SUPPOSED To Be Special

If you are playing a long-term campaign where the party is supposed to achieve a goal and maintain its cohesion all the way to the end, then the PCs should stand out, or be special in some way. It isn't required, but it is certainly well within the genre if you look at most of the classic examples from modern fiction and well-known myths.

Drizzt Do'urden is probably our go-to example as a drow who finds his views apart from his people, and who adventures away from the Underdark, but he's far from the only example. Logen Ninefingers (and his anime counterpart Guts) are both sensitive to the world of spirits, and achieve feats of violence and bloodshed that leave others in awe. Hercules is the son of a god, and has a strength so prodigious that in one play he literally puts death itself in a headlock until it returns a friend's wife. Oedipus is the secret son of a king, and a child of prophecy (tragic prophecy, but prophecy nonetheless). The crew list for the Argo was a who's who of heroes and champions, all on a quest for the golden fleece. The dangerous ranger who goes toe-to-toe with half a dozen undead kings is actually an 80 year-old prince in love with the daughter of an elf lord who by rights should be wielding a mystic sword spoken of only in legend.

Then there's this white-haired, golden eyed, regenerating ladies' man.

The point I'm getting at is that PCs are not supposed to be randomly-selected extras who've just been promoted to starring roles. They are the ones with the skills, the drive, and often the unusual abilities to step up and do what other people can't... because if someone else was already handling the problem, then we would be telling stories about their exploits instead.

So if a thing exists in the game world, and it is available to players, there's no reason to blanket-deny it to someone who asked for it.

And as the guy who wrote both 100 Unusual Aasimar and 100 Tieflings To Meet in Your Travels, trust me, I'm no stranger to slotting in weird, wild, and bizarre character concepts.

The Drizzt Problem

I can hear a lot of DMs out there clearing their throats, and preparing comments that they've seen far too many players who want to just make versions of some of the characters I mentioned with the serial numbers filed off. They're not putting in their own creativity, or trying to make the character their own in any way, they just want to change the name and be Drizzt, or Strider, or Guts.

To that I ask you this one, very important question: Why does that matter?

Seriously... because I know we've all done our own version of this. Heck, I wrote the conversion!

If the race, class, and abilities your player wants are clearly influenced by a particular archetype of character, and they're willing to make that character work in your game, who cares if it's their own take on a popular archetype? Because Batman is just Zorro without the horse, Zorro is just the Scarlet Pimpernel with a different accent, and so on, and so forth.

Your primary concern as a DM should be that your players are having fun, and playing characters they enjoy, which add to the game. If everyone around the table enjoys their take on something, then it will make the game better. Also, if you let a player get that experience under their belt, next time around they're more likely to do something different, and to stretch their legs a bit. Whereas if you tell them no, they're just going to want to do it more because they didn't get a chance to try it out. I speak from personal experience here both as a player, and as a DM.

Rarity is Not an Excuse, Either

 The other major argument that I'm sure someone was getting ready to make is that rarity should exclude players from having certain character types. The more uncommon a race, class, etc. is, the more reason you have to say no to it.

I'd actually take the opposite view of this. If something exists in the setting, and it is available for PCs to have, then there should be even less reason to say no to it because by its very nature it's going to fit into the mold of someone (or something) bound to have adventures worth following.

A tiefling warlock who uses the powers of hell to battle fiends? Baller, let's roll!

The rarity argument makes no sense, because we are not choosing the PCs we play by looking at world demographics and picking what makes the most sense based on that spread. Otherwise 99 percent of all games would just be human peasants being slaughtered by wave after wave of goblins. You pick a PC for their ability to actually solve the threats the party is facing, and because their unique flavor appeals to your palate.

And if something "doesn't fit" in a particular location, then it's your job to sit down with the player and figure out why this character ambled into town.

Heard you had a monster problem. Might be able to help with that.

I talked about this in The Non-Problem of Making Monks Fit Your Setting, as well as in DMs, Please Stop Arbitrarily Limiting Race Choice in Your Games, but it still bears repeating. The world is a big, wide-open pile of nonsense, and getting a character from one end of it to the other is often way easier than we seem to think it is.

For example, say a player wants to play a character who's been schooled in the art of the Broken Fist. It's a powerful fighting style that has a particular tie to a nation half a world away from where your game takes place. So, how did the PC get there?

- They Walked: Caravans and ships are canonically everywhere in most settings, and there's nothing to say that a student of this bone-breaking martial art didn't simply walk until they found a place where their skills were needed.

- They're Already Local: If someone was a local who was schooled by a retired master of the art, then they're in the area you need them to be, and for bonus points they're someone known to the neighborhood/town. You could even throw in some tension with their master over how this art should be used, with the student electing to do the right thing despite their teacher, or their teacher sending the student to help as a test of their skills.

- They're With Someone Else: The barbarian puts their sword into the fight, but the initiate of the Broken Fist has been traveling with them, and can't let their friend go it alone. How did Han and Chewie get to the middle of nowhere when the plot needed them? Who cares, they're here now, and that's what matters.

Whether the PC is a demon-blooded sorcerer who really just wants to help, or one of the last of a clutch of lizardfolk looking for revenge, as long as the player has an explanation for why they are here, that's all that matters.

Because even if only a small percentage of the game world qualifies for a certain class, or is born as a certain race, what's the point of that argument? 1 percent of billions of creatures is still millions of potential candidates! Having an entire party of "rare" creatures and specialties is not all that unusual, and is something you can explain pretty easily between mercenary companies who specialize in outcasts (like The Devil's Own in 100 Random Mercenary Companies), traveling circuses, fleeing refugees, and the bloodlines of previous generations of adventurers who stopped in every tavern and brothel they could find to spend their loot. So if your urge as a DM is to say no, and fold your arms until everyone goes back to dwarven fighters and elven rangers, ask why you feel that way. What are you gaining from denying your players the options they want to utilize which exist in the setting you're running?

Your players might make do with a secondary PC idea they've had laying around. But if you give them that weird, wild thing they asked for? They will typically fight tooth and nail to make the most of it. Just something to think about.

Like, Follow, and Stay in Touch!

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

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

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