What Is Your Character's Relationship History (And How Has That Affected Them)?

Let's be honest with ourselves, there has always been a streak of romance in a lot of RPGs. Whether it was the relatively chaste quest to prove oneself worthy to wed the princess like something out of an Arthurian story, or the party heading down to the local brothel to spend a sack of coin they earned from their last bounty, the elements have always been present. However, that isn't what I'm talking about today. Because even if you're playing an RPG where you don't want romance-related plots (to say nothing of the more explicit content that exists in games like Lewd Dungeon Adventures or Foreplay: An Erotic Storytelling Game), it's worth asking what kinds of romantic experiences your character has had, and how that's shaped them over their lifetime.

Look, I'm telling you, make the proposal special. Trust me, I speak from experience.

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It's Part Of Your Path (Even If The Character Lacks Experience)

Whatever character you're playing, however strange, unusual, or perfectly plain they are, take a moment and ask yourself what kinds of romantic relationships or entanglements they've had, and how that has affected them as a person. And, before folks start typing in the comments that they don't need to think about their character's sexual history when making a dungeon crawler, that isn't what I'm talking about. Specifically ask what kind of relationships your character has had, what this says about them, and how it affects their outlook. Good or bad, abusive or loving, it will leave a mark on them.

As an example, take the archetype of the fresh-faced fighter. We'll even go the extra mile, and make him a farm boy hero with dreams of glory. If his whole romantic experience up until the time he leaves to go on an adventure, or perhaps to join the militia, is just reading fairy tales about happily ever afters then he's not going to have a frame of reference in mind for when he encounters people out in the world. What will he do when the bard tries to wingman him with the bar keep? How will he react of a noblewoman tries to twist him around her finger? What will he do if he encounters a succubus?

Now ask how that same character would be different if he had a girl back home that he's planning to come back to. He loves her very much, sends letters and money when he can, and he's out trying to make good, and to prove to her father that he can provide for her. What if this character was older, served time in the militia or the army, retired, got married, and now he's a widower who has to find a new way to earn a living, but can't stay in that home with all its memories?

 

She's in every brick of that place... I can't even sleep there anymore.

The types of relationships a character has had, the experience that's garnered them, and what kind of person that's made them into, is an often-overlooked aspect of their history... hence why it's worth thinking about. And the more unusual the character, the more unusual their frame of reference might be.

For example, did a bard master her song as a way to serenade a boy she was infatuated with, but he was betrothed to another? Did that rejection lead her to keep her future relationships shallow and physical, never letting someone get really close to her emotional core? Did the paladin swear an oath of chastity when he first took up the sword, and so all relationships must be physically chaste (even if he might be sorely tested)? Does the cleric serve a love god, and so they are intimately familiar with a variety of relationship styles and troubles, often acting as match maker or counselor? And has this helped their own relationships, or made it even more difficult for them? Does the barbarian come from a tribe where polyamory is normal (like the Takatori dwarves in my Species of Sundara supplement for both DND 5E and Pathfinder Classic), and thus they are used to a completely different relationship dynamic than more "civilized" folk, making mistakes and unintentionally insulting people because they don't understand one another's expectations?

There's no need to make a big deal out of the character's relationship history, but it can be an interesting or fun little mix-in for your game. For example, if your bounty hunter ranger is always talking about the one that got away, it might be a fun little twist that she's been hunting for her ex, who also happens to have a sizable reward on her head. Doubly so if she stole something expensive, hoping the ranger would come after her, because she was too awkward or scared to talk about her feelings. If the halfling rogue is always talking about his wife back home in terms that makes her seem dainty, soft, and delicate, but then the party meets said wife to find out she's a full-blooded orc who will destroy anything that comes between her and her husband, that juxtaposition can be fun and amusing. And if the grim-faced cleric of the death goddess melts whenever there are kids present, finding out that he and his wife never had a chance to have their own before she passed of a fever can add a dimension to him that the rest of the party didn't expect, and it adds a tragic, human side of him that he might keep under wraps until he truly trusts someone.

Which is why this aspect is worth thinking about. Because even if romance isn't a driving force behind a character, their experience with it, and desire for it (or the lack thereof), will be part of what has shaped them up until the point where they hit the mat.

Also, if you are looking for inclusions of something that is definitely going to be an adult element in a game (but which doesn't actually have any explicit content in it), then I'd recommend checking out the following series of supplements by yours truly:

- World's Oldest Profession: A Baker's Dozen of Brothels

- World's Oldest Profession: 100 Courtesans and Concubines

- World's Oldest Profession: 100 Rumors To Hear in a Brothel

- World's Oldest Profession: 100 Titillating Titles To Find in a Lewd Library

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

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No-Win Scenarios Ruin Games (ESPECIALLY Horror Games)

Generally speaking every RPG you ever play needs to have a victory condition of some kind. A "good ending" if we're thinking about it like a video game, or a choose-your-own-adventure book. An ending where you stop the cult, save the princess, defeat the dragon, or whatever other scenario you happen to be faced with. There is a mistake a lot of Game Masters make when they settle in behind the screen, though. Sometimes they make this decision out of a genuine attempt to tell a compelling story with an impactful ending, and sometimes they make it out of spite, or pettiness, but it remains a mistake nevertheless.

It is, in short, putting the players in a no-win scenario... because that's not fun for anyone.

You need some light at the end of the tunnel. Trust me.

Before we get into the nitty gritty this week, 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!

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If They Can't Win, Why Are They Playing?

For folks who don't know my history, and who aren't regular readers, I've been playing and designing RPGs for a while. And while I've made content for fantasy games like DND 5E with modules like The Curse of Sapphire Lake and Ghosts of Sorrow Marsh, I've also put together a lot of content for World and Chronicles of Darkness games to help storytellers really bring out the flavor of their settings. Some of my more popular supplements there include Evil Incorporated: 10 Pentex Subsidiaries (for Werewolf: The Apocalypse players), 100 Resources and Rumors to Find on SchreckNet (for the Vampire: The Masquerade lovers), and 100 Strange Sights to See in The Hedge (for all the Changeling: The Lost enthusiasts).

I mention my bona fides because, while this advice doesn't pertain solely to horror games, it is the genre where it shows up most often as a justification.

Trust me, bleakness impresses no one.

So what are we talking about, here? In short, we're talking about games where things don't just feel hopeless, but where they are hopeless. Games where no matter how well the PCs roll, how clever their plans are, or how hard they try there is no scenario where they can hope to really win. They are going to fail to achieve their goals, and most likely die in the process. You've already written the ending, and nothing that transpires is going to change it.

Some folks reading this are likely confused right now, so I will state it clearly. Hopelessness is bad for any RPG, but it is toxic to a horror game. Because if you have no hope of winning, if there is no chance you could do anything to come out ahead, then the horror loses all meaning. The darkness only has weight if you're trying to stop it from claiming the light. If it's all darkness no matter what, it will drown any enthusiasm your players have in relatively short order.

Happily For Now Vs. The Ever-Present Threat

About a decade or so ago I was just getting started in my career as an author, and one of the only clients who'd work with me without a publishing history were smaller romance houses. A lot of them had requirements that stories had either an HEA or HFN ending... Happily Ever After, or Happily For Now. While we all know what the former means, the latter meant that while there might be storm clouds on the horizon and issues left unsettled, the couple had overcome adversity and had found their way into each other's arms for the time being.

For RPGs (and particularly for horror RPGs) we can use the same framing. VEA or VFN... victorious ever after, or victorious for now.

We won... but at what cost?

This ties into the Ever-Present Threat that is part of so many RPGs, but particularly those in the horror genre. Whether it's the Wyrm in Werewolf: The Apocalypse, the True Fae in Changeling: The Lost, or the Great Old Ones in Call of Cthulhu, these games often have antagonists who can't be decisively beaten. You can't just shoot them in the head, stab them in the heart, or recite an ancient spell to slay them... these threats are amorphous. They are beyond the ken of mortals. They often pre-date mankind, and will continue to exist long after its demise. They are perils the likes of which the heroes, whatever their powers, cannot hope to ever destroy.

But that doesn't mean those heroes should be denied their smaller victories. That they cannot carry the battle today, even if that does not win the war. That is key to making this whole story work.

Take Call of Cthulhu for example. The players cannot kill Cthulhu. They cannot snuff out Yog-Sothoth. The idea they could even wound a creature like Nyarlathotep is unthinkable. But that shouldn't be the definition of victory in those cases. Because there are things the players can do, and that will make a difference for the time being. They can stop the ritual meant to take place during the planetary alignment, for example, rescuing sacrifices and ensuring an enemy cult has to wait another 85 years to try again. They can kill a wizard who's been stealing bodies to try to become immortal, ending his spree of murders. They can ferret out agents of the Mi-Go and either destroy them, or drive them off. They can ensure that dangerous artifacts are placed somewhere safe, or that deadly grimoires are burned to ashes so no one can learn the dread knowledge within them.

Players can achieve lowercase "w" wins in these games. Not only can they, they should achieve them in order to keep their spirits up. To keep them ready for the next challenge, and interested in the next session, the next mystery, etc. Because while there will always be another monster in the dark corners of the earth, or another dark cult trying to renew an ancient pact, there should be things they can achieve. Things that will allow them to be victorious for now... but tomorrow there will always be something else.

You Need Light To Make Dark Shadows

Have you ever been in a game where you had to deal with an NPC who was just all around unpleasant? A nasty person who had no redeeming qualities, and who you would gladly kick down a flight of stairs if you could get away with it? Imagine that NPC being bitten in half by a dragon, and the Game Master expecting the party to be sad about it. It just doesn't work, because that's not the emotional tie that was created. In order for that death to be meaningful and impactful that NPC would have to be friends with the PCs. They would have to feel protective of them at best, and to actually like them at the very least.

The same thing happens when it comes to the balance of hope and grimness. Because if players experience nothing but frustration, with victory always being snatched out of their grasp, that's going to kick sand onto the fire of their enthusiasm. You need to feed that fire with little victories, and to show them that they can win. Because the potential to fail only means something if it isn't the default state... if you had a legitimate chance to grasp victory, but you failed.

More GM Advice

If you liked this and you want to see more, check these out:

- 100 Tips and Tricks For Being a Better Game Master: Pretty much what it says on the tin. This supplement collects some of the best GM tips and tricks off this blog and presents them in a simple, easy-to-utilize fashion... useful for any game!

- Why Game Masters Should Understand Dread, Terror, and Horror: Speaking of running better horror games, this post was surprisingly popular. It illustrates the kind of specific language that can make a horror game more enjoyable, and examines various concepts from different angles.

Like, Follow, and Stay in Touch!

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

Again, for more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my cat noir thriller Marked Territory, its sequel 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!