The Difficulty of Destined Heroes and Fail States

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

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

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

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

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

How Does Destiny Manage To Weave Through Failure?

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

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

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

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

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

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

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

Resurrection can be a finnicky thing.

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

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

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

And so on, and so forth.

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

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

Like, Follow, and Stay in Touch!

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

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

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

Villains Can Cheat Death (Without Taking Away Your Players' Victory)

I recently wrote a post over on my sister blog The Literary Mercenary titled Undercutting Death Can Undercut Your Story. And while I wrote this from the mindset of an author, there were quite a few references to RPGs and comic books about how introducing mechanics that render death mutable or reversible can have a major effect on your story's stakes, and with how seriously we take death as a consequence.

And this week I wanted to elaborate on this a bit for the Game Masters out there... because while it's true that what's available to the player characters is available to their enemies, if you're going to bring back a villain after they were killed then you need to do so in a way that doesn't feel cheap, or undermine your players' success, and which adds to the ongoing story.

Also, a shout out to Adrian Kennelly's supplement I'm Back! - 25 Reasons For A Villain's Survival for Game Masters who could use a bit of a kickstart on this topic.

It's a delicate balance... but you can manage it.

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

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

Should You Bring This Villain Back?

Its happens to all of us. Your players get lucky, and they sink a critical hit at a bad time. Or maybe you forgot about an ability on their sheet that stripped away your villain's exit strategy. Or for the first time in recorded history one of those one-hit-kill powers actually worked, and it dropped your big bad instantly. Well, you had plans for this villain in the narrative going forward, but the numbers made it clear that your players won this round, and your villain is dead.

First and foremost, ask yourself why they shouldn't stay that way. Aside from the fact that it would make your life easier as the GM, who in your ongoing campaign has a vested interest in that villain remaining on the mortal plane? And, perhaps even more importantly, what role are they supposed to actually serve in the ongoing narrative?

You had one job, Crassus... now go do it!

Take a moment, and ask who this villain is. Are they a hired mercenary who was just working for the real villain? Are they a servant of a cult, who might have access to relics or rituals that can bring back their servants? Or does this villain serve a dark god, or powerful necromancer, who might decide their minion has skills and abilities that would be too hard to replace at this stage of their plans? Did they make a deal with someone, or something that isn't going to let them out of it so easily?

All of that context matters. Because if your villain was just some guy who had a certain set of skills, but not a particularly rare one, then they shouldn't be resurrected unless the circumstances of their death were genuinely up in the air. If they fell off of a cliff and into a rushing river, then maybe they could survive, for instance. But if the PCs stabbed them to death, dismembered them, and burned their body, that villain is dead for sure. In that situation it's better to bring in a new villain who will take their place, and who might be looking for vengeance on those who killed that original bad guy. Maybe it's an old war buddy, an enraged father, a vengeful mother, an even more evil twin... someone who fills the role nicely, and who shows the party their actions have consequences, and what they do affects the story as it unfolds.

However, if this villain was truly difficult to replace either because of their unique power level, or you really wanted to build up more of the personal antagonism between them and the PCs, then consider using any of the absurd methods you have on-hand for resurrecting them. For example, could their parts and pieces be reassembled with dark technology, or terrible magic into some kind of angry cyborg a la Darth Vader, or an evil Robocop? Could they be truly resurrected by a patron, or a deity, who marks them in some way to remind them they have failed (perhaps removing a finger, like a Yakuza soldier, or marking them with terrible brands, taking an eye, etc.)? Or are they resurrected with a template added onto them, perhaps as a powerful undead, or some kind of horrible demon hybrid creature?

Or are they operating under a curse, like those who wield the Widowmaker, a terrible, corrupt weapon found in The Blade Itself for Hunter: The Vigil?

Give it a look if you haven't yet!

Now, the key here is that for this villain to come back it can't feel like you just hit the undo button behind the GM screen, and invalidated your players' victory because it was inconvenient to the narrative. This resurrection should clearly have come at some kind of cost to the villain, and it should be uncertain as to whether it will happen again. Even if you want to use resurrection or reincarnation as a kind of power for this particular enemy, the challenge will then become finding the thing that truly kills them for good so they stop coming back. But it should never feel like a victory (hard won or otherwise) is just being handwaved away because you couldn't be bothered to draw up a fresh villain, or to modify a story because you were operating under the assumption that this particular bad guy would be present and un-murdered for what comes next.

Remember that you can get creative with this! Just be sure that your resurrection feels well thought-out, appropriate to the story, and that the cost of it undercuts exactly how far the villain is willing to go to thwart the party... especially because their new lease on life may very well depend on them succeeding where previously they failed!

Like, Follow, and Stay in Touch!

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

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

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

Game Masters, There's Nothing New Under The Sun (So Don't Stress About It)

There is a fear I have seen among a lot of writers out there. In short, it's a desire to make something genuinely new and different the no one has seen before, which is driven by a fear that someone will accuse their work of being derivative, or of simply being too similar to other stories that have been told before. And, for some reason, this fear seems to affect Game Masters (particularly newer Game Masters) to an even greater extent. They worry their players will guess their twists, figure out their inspirations, or that once they get a bit of insight they'll be completely uninterested in the game because it won't be new or fresh anymore.

Now, I don't often turn to the bible in situations like this. Not my faith, not my book. With that said, though, I'd recommend Ecclesiates 1:9 for advice. What has been will be again, what has been done will be done again; there is nothing new under the sun.

I'll be damned... it's right in the book.

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

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

Seriously, Just Embrace It!

There are a lot of Game Masters who likely laughed, shook their heads, or rolled their eyes at the introductory paragraphs. I've lost count of the number of people who are all too happy to list the books, movies, and even other RPG settings they've stolen their ideas from, talking about the various NPCs, locales, and plot arcs they've snagged from other places to make their own Frankenstein creatures to serve up to their players.

And in some cases the GM had wider, deeper, or older tastes than the players, so nobody realized the campaign, world, etc. wasn't spun entirely out of whole cloth. However, most of the time realizing that a Game Master took inspiration from a particular property (or even an entire part of history, for those who know that Game of Thrones is based on the War of The Roses) doesn't ruin the experience for the players... because it's not about being utterly and completely unique in a way that no one has ever done things before. It's about providing your players an experience that's unique to them and which has your signature style on it.

Put another way, think of your campaign as a grilled cheese. Everyone knows what a grilled cheese is, and everyone has probably had them dozens of different ways over their lifetime. Now, you might make yours in a slightly different way that some people (maybe your cheese is spicy, maybe you use mayo instead of butter to ensure the bread is toasty, perhaps you like to put bacon bits in it, whatever it is you do), but others are going to take one bite and it will be instantly familiar to them. That doesn't mean they stop eating the sandwich, especially if you prepared something they like in a way that is fresh, delicious, and which is served up on a platter to them.

Case in point...

I've got plenty of examples in my own catalog where I embraced the inspirations for a particular project. My elevator pitch for The Curse of Sapphire Lake is, "The love child of Beowulf and Friday the 13th," after all. And fans of classic action movies will quickly recognize the inspiration behind my Army Men mission module Assault on Outpost 13, since even the title is an homage to the film Assault on Precinct 13. My Sundara: Dawn of a New Age fantasy RPG setting completely does away with the convoluted multiplanar structure used in Pathfinder and Dungeons and Dragons, opting for a simpler, more streamlined system of the material world and the Prim, which I explained in Gods of Sundara... and it's going to look very familiar to any fans of the Warp in Warhammer 40K as far as structure goes.

Hell, even my World of Darkness supplement Evil Incorporated just looked at historical atrocities (and modern ones) committed by corporations and billionaires. The introductory fiction even has a veiled call-out to the owners of Hobby Lobby who (at least allegedly) paid a ridiculous amount of money to terrorists in the Middle East to purchase stolen relics which they kept in their own homes.

Now, I'm far from unique in this aspect. Zon-Kuthon, from Pathfinder is clearly heavily inspired by the cenobites of Hellraiser, but not only that, the nation that worships him is steeped in winks and nods to Melnibone, the nation from the Elric novels by Moorcock. The same can be said of the supposedly cursed kingdom of Valyria from Game of Thrones, for the record. There are references all over our games to works by H.P. Lovecraft and Robert E. Howard, to say nothing of Tolkien. And that's before we get into the copious use of world mythology, and great works of fiction like Arthur and his knights of the round table.

So while a particular game might have a different flavor, or a unique twist on things (such as a medieval fantasy game where you have to investigate the Cthulhu Mythos, or recreating the Trojan War as a starfaring space battle using mech combat), the inspirations are going to be present. There is always going to be a story that came before you, or a character someone else has seen, that bears some similarity to what you're doing at your table. More importantly, if you spend all your time focusing on what you don't want your game to be, then you're going to define it by what it isn't, rather than what it is.

I'm not saying you should shamelessly copy someone else's homework and just change a couple of the names around (I'm looking at you, Games Workshop). However, if you're tying yourself into knots worried that your players are going to figure out that your particular order of cavaliers is based on Lancelot, or that they're going to guess the plot twist for the traitorous noble because he's basically Count Dooku with a bastard sword, don't sweat those kinds of things. Instead, focus on the presentation and preparation for your game.

Everyone has had a grilled cheese before. Just make sure the one you serve them is perfectly crispy, melty, and delicious, and everyone will probably enjoy it!

Like, Follow, and Stay in Touch!

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

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

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

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

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

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

It's all connected!

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

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

The Structure of Your Story

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

The Novel

From page 1, all the way to the end.

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

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

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

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

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

The Episodic Story

As we rejoin our adventurers...

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

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

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

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

Consider Your Structure

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

Like, Follow, and Stay in Touch!

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

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

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

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!

Game Masters, Take Some Lessons From Video Game RPGs When It Comes To Memorable NPCs

Most of us who enjoy rolling funny-shaped dice and talking in outrageous accents have (usually) also spent at least some time playing RPGs on a console or computer over the years. And whether you prefer something that's hack-and-slash like Diablo, or you're more of an action-RPG fan who prefers some of the offerings in Bethesda's stable, these games are a great way to play when we don't have time, energy, etc. to get a crew together for an adventure around the table.

And while criticizing Game Masters (as well as players) for being too "video gamey" in their approaches is a common thing in the hobby, I feel like there is value in looking at what these games do right. And while we can argue about which games have good narrative design, and which ones give you freedom of choice, I feel there is a particular aspect a lot of GMs might overlook... namely the merging of function and form that typically happens with important NPCs.

Stay a while, and listen.

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

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

A Merging of Function and Form

Any time you have a recurring NPC in a video game, they tend to serve some, mechanical function in your game. It might be a character like Blacksmith Andre in Dark Souls, who repairs and upgrades your gear, or it might be someone like Wirt in Diablo who gives you rare and unusual items if you're willing to gamble on them, but the idea was that if you were going to have an NPC who got animations, art, and voice lines, then they needed to be a functional part of the game as well as a part of the story in order to justify the time, work, and expense of rendering and including them.

Now, as a Game Master, you can spin up NPCs from out of thin air, and use them to plug in whatever need you have... however, doing that can eat up a lot of time, energy, and effort, and it can leave you with an ever-growing roster of characters you have to keep track of that can make your story feel a bit bloated as you try to keep track of who is who, while not losing your grip on the story you're telling. So, to keep your list somewhat streamlined, it's a good idea to make sure that particular NPCs you want to keep around serve a specific role in the game, as well as occupying a particular place in the story you're telling.

Hello there! How can I be of service today?

There is, however, an additional factor you need to balance, here. Because regular, recurring NPCs should serve some mechanical purpose, but at the same time you don't want them to be more powerful than your player characters. You can end up walking a very fine line when it comes to what an NPC can do... but sometimes that can be a fulfilling part of the challenge that can also add to the flavor and lore of the character in question!

For example, let's say you have a shady NPC who hangs out on the rough side of town. Maybe his original purpose was to get rumors to the party, and to act as a way for them to gain access to black market goods like poison if they stay on his good side. That function doesn't require him to be a powerful character in his own right; he could be a level 1 thug who just happens to have a network of contacts that lets him act as a dispensary for the party. But what if you wanted a character to act as a source of lore, or to help identify magical items, spells, etc. that the party can't figure out for themselves?

This is where that creativity comes in.

For example, does your party form a relationship with an acolyte who lives in the large, arcane college's library who does all the research, devoting their time and energy to giving the PCs answers because they know how to comb through the collected knowledge of the institution rather than because they themselves are a master of the magic arts? Do they instead talk to a local hermit who was once a cleric, but who has since turned his back on his faith, meaning that he still has all his knowledge (and maybe a few spells kept in reserve), but he is only a shadow of his former self? Or is there an eccentric noblewoman who has devoted her life to the study of magic, fascinated by everything it offers even if she has no skill beyond theory and history?

The key here is to walk that fine line. Because if the PCs interact with a particular NPC for long enough, then they will often end up becoming their go-to ally or source. This will help you keep interactions going, deepen relationships with these characters (hopefully), and allow you to toss out some pieces of their lore as time goes on.

It can also be a particularly good method for making sure that you don't have to make up a new roster of NPCs every time your players want to go shopping for new gear, replenish their spell components, or commission a new weapon or armor set. Which will save you a lot of time and energy by the end of your campaign... even if you just establish a fresh set of useful NPCs in every new location when you get to a fresh arc of your story.

Looking For Some NPCs To Fill In Your Gaps?

You should definitely check these out if you haven't yet!

If you're a Game Master who wants a little help with the heavy lifting of NPC creation, I've been putting together a lot of supplements on this subject. And while a lot of these NPCs are just scene fillers like the drinkers at the end of the bar, or the merchant dealing in leathers, all of these supplements are interspersed with NPCs who have the kind of mechanical roles I've mentioned above. So whether you're looking for curators of alchemical goods, underworld figures who know how to get you illegal goods, weapon smiths of extraordinary skill, or curious scholars who can find the lore your characters need to advance the plot, consider picking up some of the following supplements:

- 100 NPCs You Might Meet At The Tavern: The flagship product of my blue-book covers, this one is a bestseller for a reason, in my opinion, and it has a little bit of everything in it.

- 100 Helpful Hirelings: A collection of folks who are more than happy to help out the party, this collection has everything from laborers and squires, to locksmiths, arcane scholars, and more!

- 100 Merchants To Encounter: From traveling magic item dealers and fey marketeers, to ironmongers, tanners, and booksellers, this collection has a long list of folks who can be ideal for getting the right items into the party's hands... and many of them also provide secondary services that can be quite useful!

- 100 Nobles To Encounter: Whether they're meant to act as paymasters, as someone who can open doors for the party, or just someone who is willing to help whenever possible, it's a good idea to know what nobles one can find in the area.

- 100 Town Guards: A collection of the town's investigators and enforcers, these NPCs are often good for getting information into your party's hands, for giving them some leeway with their methods, or even providing them with some unusual tools, if they play their cards (dice?) right.

Like, Follow, and Stay in Touch!

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

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

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

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!

Game Masters, Make Sure The Villains Aren't Just Sitting Around Waiting

There are a lot of names for it. I've seen it called dungeon scumming. I've seen it called Skyrimming (suggestive tone optional). I'm sure there are terms that other Game Masters have heard of that I wouldn't recognize without some explanation. At the end of the day, though, all of these terms refer to a specific kind of behavior from the players. In short, they go into the plot-relevant situation (assaulting the villain's keep, kicking in the door of the dungeon, etc.) and blow all their big resources up-front. The barbarian roars through their rages, the spellcasters empty their slots, daily charges of magic items are used, and as soon as the party gets too low, too hurt, or things don't go their way, they pull out. Not just from the fight, but from the entire situation, backing off a safe distance so they can heal up, recover their resources, and come in hot again.

However, this kind of behavior only works if you treat your NPCs like they're in a video game, rather than a living, breathing world. Which is why, if you want to create dynamic challenge, remember that whatever your players are doing (or not doing), they aren't the only ones in the setting who are moving. Your villains have better things to do than just sit around, waiting for the heroes to show up and thwart their plans!

All right, men, we've been discovered. Move the treasure to a safe location!

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!

Your Antagonists Are Characters, Too

Every action has an equal and opposite reaction, or so the science tells us. However, when it comes to your story, both actions taken and not taken should have an effect on the plot either for good, or for ill. And as the Game Master you should encourage the game to feel organic, and to act like a living, breathing thing.

Take one of the examples above; the party tasked with getting rid of a bandit gang in the woods that have been harassing people on the roads. These bandits shouldn't just be a series of encounters waiting to go off until your players find the bandit lord, get their loot, and turn in the quest. These NPCs should be living, breathing parts of your game world, and they should react to what happens (or doesn't happen) in your game based on the actions taken by the party.

How are you going to persuade the highwaymen to turn over a new leaf?

As an example, say your players locate the stronghold deep in the woods used as a base of operations by these bandits. They raid that stronghold, going in with spells flying and powers going off every round, but it's not enough. Before the bandits can bring them down, the party retreats out into the forest to rest and recuperate, getting back their hit points and spells to come back and do it all again... but what did the bandits do in the 8-10 hours between the party's raid, and them coming back for round 2?

Do the bulk of the remaining forces abandon the fortress, rigging it with boobytraps and just leaving a skeleton crew behind to ambush the party before leading them in deeper? Do they reinforce their positions instead, and send out word to their forces, bringing reinforcements back to the fort so the party now faces more enemies than before, all of whom are now ready for a fight? Does the bandit lord pack up the treasure the party is hoping to reclaim, sending it out with trusted lieutenants to take it to a safer location that the party will now have to track down again if they want to get back the stolen goods? Or do the bandits regroup, and come after the party in the woods, staging a midnight counterattack with all their numbers while the party is weakened, and may not be as ready to fight?

There are, of course, going to be situations where things remain static in the PCs' absence. If they're going through an abandoned ruin that's guarded only by constructs, mindless undead, and traps, then none of those things are going to deviate from the orders they were already given. In some situations it may be legitimately impossible for them to leave their posts, or to pursue the party beyond a certain point, making them very much a static, somewhat predictable force. But if the antagonists your party is facing are sentient, and if they have plans that are already in motion, then they need to be able to react to what your party is doing... or if your party opts to not do something, then you need to know what stage the antagonists' plans are at.

Let's return to the bandits in the forest. Perhaps, instead of trying to track down their hideout, the party just escorted merchants back and forth along the highways to ensure they weren't attacked. Or maybe they started taking out the bandits a few at a time, trying to catch them out in small teams in the woods, away from their hideout, and their support. If the bandit lord and their men find out what the party is doing, what preparations will they make? Will they start terrorizing the town as a way to try to get the PCs to back off? Do they form assault teams meant to take the party out at a time and place of the bandits' choosing? Will they disperse, fading away into the woods and finding a new place to ply their trade, believing it's better to live to fight another day? Or do the bandits reach out to another faction, such as the necromancer or devil-worshiping cult that was going to be the next antagonist, joining forces with them to try to defeat the party?

Nothing happens in a vacuum, and to make your game feel like a living thing, make sure that your villains are acting to reach their goals just as surely as the party is trying to reach theirs.

Additional Resources

If you want a little help with your antagonists, consider checking out a few of my supplements that are designed to do at least some of the heavy lifting for you!

- 100 Random Bandits To Meet

- 100 Prisoners For a Fantasy Jail

- 100 Gangs For Your Urban Campaigns

- 100 Cults To Encounter

- 13 Fiends: A Baker's Dozen of Devils

Like, Follow, and Stay in Touch!

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

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

To stay on top of all my latest releases, follow me on 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!

Vox Mortis- Radiohead (A Geist: The Sin Eaters Character Concept)

Molly felt cold. It wasn't the sharp, immediate cold of the wind outside, or the chilly, winter claws that scrabbled at the corners of the cracker box of her studio apartment, though. It was the sort of cold that marked an absence. It was how you felt when there were no more laughs or tears inside you. It was how you felt when you'd been clinging to your diet for so long your stomach had gone quiet, and even your tongue couldn't be bothered to complain. It was how you felt when the water around you went pink, and the panic had ebbed out along with your blood.

"Time's a funny thing, isn't it, kid?" a voice asked. It was a strange voice, with an old-timey accent she'd only ever seen on clips from black and white movies and news broadcasts.

Molly blinked, using what little energy she had to turn her head on her pillow. She glanced at the cracked TV with the cardboard shims to keep it even sitting on the old dresser she'd found in an alley. Her eyes slid over the kitchenette, where the empty fridge hummed on, and her one set of dishes sat ready to be used. Her laptop was open on the rickety desk she'd gotten from a neighbor who didn't want to pack it up. The old machine's screen was dark, but a single, green eye pulsed in the dimness. That was the closest thing there was to another person in the room with her, as usual.

"Hearing things..." Molly muttered, her eyes falling closed again.

"That's the nature of the spoken word, Molly Mouse," that voice said again. "Hearing is the first step to understanding."

Molly's eyes shot open, and adrenaline pumped through her veins. She sat up fast enough to give herself vertigo, her head whipping around. That voice hadn't come from inside her head; it had come from the tiny clock radio that sat on the milkcrate she used as a bedside table. She hadn't turned the thing on since she'd moved in, but she just hadn't had the give a damn to move it. She blinked, trying to focus, peering at the speaker.

"Can... can you hear me?" she asked in a small, soft voice.

"Of course I can hear you, Molly," the radio said. Then, from across the room, the same voice leaked out of her busted TV. "The question is, dearest heart, are you hearing me?"

Molly's mouth went drier than dust, and her eyes opened wide enough that her lids practically disappeared. Hissing, electric laughter echoed on the air, emanating from every speaker in the room. Molly shook her head, putting her hands up to cover her ears. She shut her eyes, as if not seeing the room would mean she couldn't hear what was happening. Then, just as suddenly as it had started, everything went silent. Molly opened her eyes, and stared in open-mouthed silence at what she saw.

A man was seated in her rickety old desk chair. He wore polished shoes with dark spats, and a crimson lounge suit with barely-there silver pinstripes. His legs were crossed, and his long-fingered hands were laced together over one knee. A watch chain snaked out of his breast pocket, hanging like a coiled serpent that hissed and shushed against itself. His tie was like a piece of a dream, shifting colors with the light every time he moved, as if the wan beams of winter sun were revealing deep, dark secrets. His face was strangest of all, though, in that he didn't have a face. He didn't have a head either... not really. Instead, sitting atop his neck was an old-fashioned radio. There was one dial for volume, and one for tuning, and a band filled with numbers beneath the off-black speaker. Molly frowned, trying to make out the numbers, but they seemed to blur and change, taking on shapes and patterns that made no sense. The figure raised one hand, and snapped his fingers; it sounded like the volume coming back on.

"I've got a limited time offer for you, Molly," the figure said, tilting its head forward slightly. "And I need you to listen very carefully. Because you've been here too long, and this may just be your one chance out of that bed."

"I don't need-" Molly tried to say, her words slipping over numbed lips, but the bizarre figure interrupted her.

"On the contrary, my dear, you very much need," he said. "You've done without for far too long. Friends, family, fulfillment, purpose, love, and even food... you've told yourself you don't need for so long that you almost believe it. But if that were true, then you wouldn't have those scars on your wrist, now, would you?"

Molly groped for her wrist, cupping the places where she'd cut deeply, but not deeply enough. The tuner on the radio spun, and static flickered with a dozen different voices before the thing spoke again.

"You have cut yourself in more ways than that," he said, his voice lowering conspiratorially. "You have carefully carved away every part of yourself that needs. Every part of yourself that wants. Maybe you thought it was safer to deny yourself, rather than to be denied by someone else. Maybe denial is the one thing you felt you had control over, until you realized that you didn't. Whatever the reason, though, your window is closing, and this is your final opportunity."

"Opportunity for what?" Molly asked in a hoarse whisper.

The dials spun again, and this time they were accompanied by a flash of color. It bathed Molly's face, and a dozen emotions flooded her mind. Anger. Joy. Lust. Pain. But atop all of them, like the tart frosting on a sour cupcake, was a single, overriding emotion. An emotion Molly had almost convinced herself she didn't feel; Want.

"An opportunity to raise your voice," the figure said, leaning in close enough that Molly could hear the hiss of static from the speaker. she swore she heard other voices in that static... a thousand times a thousand people, all talking at once, from somewhere very, very far away. "Let me be your microphone, and turn that whisper into a demand. What do you say?"

Molly raised one hand. She hadn't realized how thin she'd grown... or how weak she'd become. She swallowed, and she heard a hollow click from her throat like a gun cocking. A tremor ran through her, and she ran her dry tongue over dry lips.

"What are you?" she asked.

"Vox Mortis," the figure said, holding out a hand. "Now tell me, Molly... do we have a deal?"

This isn't where your story ends... not if you don't want it to!

Molly "Mouse" Madrigal and Radiohead

Molly Madrigal was a lurker in her own life. A product of environments she found threatening, and social cliques that were always looking for victims, she moved through her life choosing safety and security. Forgotten about by her classmates, and even her parents, she had two great loves in her life; music, and the Internet.

As a young woman, Molly consumed everything she could find. Songs, music videos, tutorials, ASMR, affirmations, storm chasers... no matter what it was, she wanted it. Being able to consume emotions vicariously, and to watch the interactions of others on forums without every getting involved, gave her a feeling of connection in a way she'd never had before... even if the connections were parasocial at best.

Old habits died hard, though, and Molly's were the sort of habits that could kill you if you didn't yank them out by the roots. As more of her happy spaces were taken over by aggressive trolls, scam artists, and worse, she soon found she had nowhere to retreat to. Every social media page, forum, and fandom was being poisoned, and it was all too much. She lost herself in the comfort of old voices, but soon even those faded away to noise. Food was bland and tasteless in her mouth, and even the warmth of her bed was less of a comfort, and more of something she was simply too tired to try escaping from.

She would have died there, and likely remained undiscovered until the slumlord who owned her building came to investigate why she was behind on rent, if not for the intervention of the geist calling itself Vox Mortis... a creature she often refers to simply as Radiohead.

Since that time, Molly has embraced life again. Not only that, she's become one of the more recognized voices on the local Twilight Network. The smoky tones of her broadcast are well-known to most Sin Eaters in the Chicagoland area, and those in the know tend to keep an ear out for when she and her associated geist make vital information known to people.

Would You Like To See More of Them?

While this is a brief introduction to this Sin Eater and her geist, I would like to make a pitch to all my readers out there this week. Because I would like to do more with these two... in fact, I think they would make ideal hosts for season two of Windy City Shadows, which I mentioned a while back in the post talking about Dead City Blues, which is my tentative title for the Geist season.

Now, Dead City Blues as a season would wrap up the story of Johnny Hammer, the Six Gun Saint, and their grudge with the mage Cyprian who wronged both of them. However, the sheer scope and scale of that revenge story is going to involve a lot of factions in Chicago, with both sides looking for allies, and trying to counter their enemies. Even the tentative plot I have right now is a significant step up from the very small and personal stakes I have for the Changeling season, which is slated to go up before that.

However, Molly and Vox Mortis would fill the role for season 2 that would be held by Mr. Nowhere in season 1; the voice of our announcer, and characters who are still part of the story as it unfolds, getting more and more involved in the events they'd previously been mere commentators about.

If these two represent an interesting addition to the cast that you'd like to see/hear more from, then all you have to do is help me get the Azukail Games YouTube channel monetized so that I can finally start in on making these episodes! We're just over 900 hours of watched time away, so check out the Chronicles of Darkness audio dramas we've already made, and maybe check out some of our other shows like Discussions of Darkness or Speaking of Sundara while you're at it! Also, if you're someone who's a fan of Geist in general, consider grabbing a copy of my supplements 50 Geists and 100 Mediums, which planted the seeds for this entire season of the show I'm practically champing at the bit to make!

And for those who got this far and are curious, yes, I finally got around to watching Hazbin Hotel. Inspiration strikes from the oddest of places, doesn't it?

Like, Follow, and Stay in Touch!

That's all for this week's addition to my Unusual Character Concepts! 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!