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!

If You Aren't Stress-Testing Character Sheets, You Really Should

Folks who are already subscribed to the Azukail Games YouTube channel, and who regularly watch episodes of Discussions of Darkness, may have heard me talk about this subject already. However, I wanted to take this Monday to really drive home that stress-testing the sheets and characters your players have made can be an extremely helpful thing to do before your campaign starts.

And that goes double for you as the GM. Because you need to know how their sheets work, and the mechanics your players are going to use, just as well as they do... especially if they're utilizing parts of the rulebook you don't typically crack open.

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!

Make Sure The Sheet Runs The Way You Think It Runs

The purpose of a stress test is to make sure that all the mechanics on a character's sheet work the way the player thinks they do, and to give it a try under laboratory conditions. The idea is that you, as the GM, should construct a situation where the character gets to try out their abilities and skills to be sure they function the way they're supposed to when the dice hit the mat. Sort of like how in 1 on 1 fighting games there's a mode where you have an opponent that doesn't do much so you can practice your moves to be sure you understand your character's abilities.

For bonus points I recommend running scenes from a character's history, or from the group's history if they've been together for a while. On the one hand, doing a single session for the group as a whole is easier to put together, but making individual sessions where you can work one-on-one allows you to construct individual scenarios geared to test each character specifically. It's why I recommend the latter option, if you have it available to you.

While the examples given are for characters in the World/Chronicles of Darkness, the idea is pretty applicable to most game systems. If you have a character who is meant to be a stealth-based infiltrator, then you can run them through a break-in, or a prison escape, to see if their skills are functioning the way they're supposed to. If you have a character that's an unarmed fighter, put them in a cage match, or a bar fight, so they can test out their abilities real-time. If a character is supposed to be the party face, run an interrogation, a trade negotiation, or something similar to see if they're really as good as they think they are when it comes to utilizing their social skills.

And if things go wrong, you can claim it was all a dream, or that things didn't go down the way they remembered, and it turns out they're telling this story in a tavern several years later.

Whether you want to test the mechanics for flying a spaceship, participating in a car chase, social combat (if your game has rules for that), or just making sure that your party bruiser can bust heads and crack teeth, the stress test saves you a lot of time, energy, and effort. However, there is a benefit over and above just making sure the mechanics work the way you and your players think; it also allows players to get into their character's skin, and play out some of their earlier moments and memories.

At the end of the day, a character trial run under controlled circumstances saves you a lot of time and energy, as there's fewer issues of players being unfamiliar with how their own characters work, and it allows players to really figure out their character's personality, style, and voice in a safe place instead of waiting until they're at a table surrounded by other players.

And, of course, it's sometimes fun to do a little one-on-one RP with your players to start building the foundation of the game, and really getting them invested in the campaign to come!

As with a Session 0, this isn't technically necessary. However, if you haven't tried this before, I highly recommend giving it a shot. Especially if you have players who are new to a system, or if you as the GM are new to the system and you want to build your familiarity with it before you take on a full session with everyone gathered around the table and looking to you to crank the motor, and get the game started.

And if you're looking for more pieces of advice from me, check out the collected tips and tricks in the following supplements:

- 100 Tips and Tricks For Being a Better Game Master

- 100 Tips and Tricks For Being a Better RPG Player

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!

I'm Not Just The President, I'm Also a Client (Using My Own TTRPG Supplements in My Games)

My fellow kids who were born in the 80s will likely remember the Hair Club For Men commercials. These things were geared toward middle aged guys who were losing their hair, and they wanted to recapture their vigor and vitality by regrowing it. The man talking to the camera was a fellow named Sy Sperling, and he assured everyone that not only was he the president of this company, but that it was through the products he was offering that he had regrown his own thick, lush mane of hair.

I find myself thinking about those commercials whenever I end up as the Game Master. Because when I sit down to work on a supplement, the question that I usually ask myself is, "If I were running a game, what heavy lifting would I want already done for me?"

The files get a little bigger every month, after all.

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! 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!

Being A Game Master is Hard Enough As It Is

I've been in the game for a while (pun very much intended), and there's an attitude that I've run into a lot when it comes to TTRPG supplements. Namely, there is a portion of the population that believes if you don't make everything yourself from the ground up (the RPG equivalent of homemade cooking versus a boxed mix) then you aren't a real Game Master.

I've gone on the record with this, but I feel like Game Masters should be given all the help they can get. They're already expected to craft a plot, keep track of an entire party worth of backstories and motivations, and keep the world all around the PCs spinning without letting things topple off the cliff... if they want a handy chart of random rumors, odd encounters, or just NPCs to meet at the bar, they shouldn't feel any shame whatsoever about GMing smarter instead of harder.

I sure as hell don't.

As a lot of my regular readers/viewers may have seen, I was planning a Changeling: The Lost LARP right around when Covid hit. I shelved my plans for it at the time, but I kept tinkering with the ideas I'd had, and the elements I'd already worked out for it. It was a lot of labor for a game I wouldn't be able to run till after the end of a global pandemic, so I decided the best thing to do for now would be to publish some of the better ideas I'd had, and to put the supplements out there for folks to use.

And now that my game is running, I'm really glad for all the pregaming I did with these supplements, as having them on-hand has saved me so much time, energy, and effort. This is particularly true for Buyer Beware: 10 Goblin Markets, which has the layouts and rules for all the local goblin markets in my game's immediate area, as well as 100 Strange Sights to See in The Hedge, which has helped me keep any journeys into the world next door feeling bizarre, unexpected, and dangerous, rather than letting it turn into just another fantasy forest. My players have also been loving the additions to the setting I put into 100 (Mostly) Harmless Goblin Fruits and Oddments To Find in The Hedge, which is honestly the bestselling thing I've ever written for the World of Darkness at this point.

Of course, I've done this with other systems, too.

Additionally, while modules are some of the toughest products to sell, my Critical Hits series is always good to have on-hand for folks who haven't played before, and who just want a quick introduction to tabletop RPGs. Thus far I've run people through Ghosts of Sorrow Marsh (a creeping dread besieges a marsh town), False Valor (a murder mystery where you get to kick fantasy Proud Boys in the teeth), and The Curse of Sapphire Lake (the hate child of Beowulf and Friday the 13th), and every time I was able to dedicate so much more of my energy to NPCs, scene setting, and facilitating interactions because the bulk of the adventure was already laid out in front of me, requiring no extra effort on my behalf.

I haven't run The Price of Iron (story about dark fey and a warehouse of horror) yet, but it's queued up for the next time my group is champing at the bit for a solid game with a dire threat!

Seriously... Don't Reinvent The Wheel

If you've been raking yourself over the coals as a Game Master because you feel like you don't put in all the work your job requires, or you're letting your players down, just take a deep breath, let it out, and remind yourself that you don't have to do everything for your game. Hell, this is my job, and I still don't force myself to come up with brand new, freshly-made stuff every time I get behind the screen, or put on my ST hat. Whether you're running a fully pre-made campaign arc, using a world built by someone else, or just grabbing a list of sci fi mercenary companies, sights to see in a steampunk city, or just some random prophecies to hear from an oracle, saving yourself processing power can be a life saver when it's time to run a game.

Because while most of us are capable of just making something up on the spot, if you end up doing that over and over again as the night progresses, pretty soon you won't have the necessary grip strength to run the rest of the game. So if you haven't used GM aids and TTRPG supplements at your table, check out some of mine, and maybe give one or two of them a whirl!

I wouldn't recommend them if I didn't use them myself.

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 Daily Motion channel!. Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, 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!

World of Darkness STs, Don't Overuse Your Big, Nasty Threats!

There's an old truth when it comes to horror movies; the less you see of the monster, the scarier it is. From the giant shark in Jaws, to the alien trophy hunter in Predator, to the xenomorph in Alien, every time we're left alone with our own imaginations we end up making something far worse than whatever the director and the special effects team could put up on the screen in front of us.

Part of this is that our brains seek out danger, and when lighting, tone, tense music, etc. tells us there's a danger, and we can't see it, it makes us anxious as we try to spot the threat before it sneaks up on us. However, familiarity breeds contempt. When you see a monster for the first time it can be horrifying, repulsive, and chilling. When you see it for the hundredth time it can be familiar, and even comforting in a strange way.

That's why if you're running a World of Darkness game, you should strive to save your game-specific big bads. Build them up. Make your players really sweat about them. Because if they're constantly showing up, pretty soon whatever edge they had is going to get pretty dull.

Consider using smaller, in-between threats to fill in the cracks instead.

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!

Lastly, to be sure you're following all of my followables, check out my LinkTree!

True Fae, BSDs, and Antediluvians, Oh My!

Every sphere of the World of Darkness (and the Chronicles of Darkness, as well) has different iterations on the same theme. There's which family you belong to (clan, tribe, seeming, etc.), which political organization you're affiliated with (court, order, covenant, etc.), which special pocket realm only your kind can access (the Umbra, the Hedge, and so on), and what special resource you harvest to power your magic (gnosis, blood, glamour, and so forth). However, there is one other category that often gets overlooked, and it's which special monster is your creature type's personal big bad?

If you're playing Werewolf: The Apocalypse then the one that's front-and-center are the Black Spiral Dancers, as they're a dark reflection, showing all the savage and corrupt things the garou could become. In Changeling: The Lost the True Fae are the Keepers who stole them, and the little gods who torment them, looming as large as a child's bogeyman. Vampires have to cope with the ancients of their kind whose power makes even the strongest of young bloods feel weak and frail, and mages in Mage: The Ascension have to cope with the Technocracy, who uses their immense power to take away freedom from others, sacrificing it for safety and security... or so they tell themselves.

Oh... oh we are in deep.

A problem I've seen a lot of Storytellers run into is that they see these personalized antagonists, and they focus on making what should be an end-of-arc villain, or something with a lot of build-up, into the garden-variety threat that their players are dealing with on a regular basis. And the effect is basically the same one you get in movies where the monster is in plain sight, standing under bright lights in more than half the scenes of the film.

Put bluntly, it loses its mystery. And without mystery, it's got no power over the imaginations of the players.

If you're going to use these big bads to raise the stakes of your game (which you should, it's what they're for), you need to take the time to actually draw out their legends. Keep them in the shadows, and let the PCs learn about them slowly. Have them move around one another in a tightening circle, but without coming to blows until there's been enough buildup that the tension is really starting to show on the players' actions.

Give Me an Example?

Let's say that you are running a Werewolf: The Apocalypse game. Your players have formed a relatively young pack, and they're hungry for glory. What better way to give them that glory than for them to defeat a noted Black Spiral Dancer (or an entire pack of them)?

That's your goal as the Storyteller... but that's not where you start the game. That's where you want to end things. Once you have that end game, you work backwards.

It's easier when you know where you're going.

Start at the end. Who are these infamous villains, and what relationship do they have to your young werewolves? Is one of them an uncle, aunt, parent, or brother who fell to the Wyrm, and a PC needs to slay them in order to put their soul to rest and purge its corruption? Is one of them a former mentor? Or for a more thematic connection, is one of them a dark mirror of a particular PC, showing what they could become... and maybe deep down what part of them wants to become?

It's a concept very similar to The Anti-Party, it just happens to work really well with werewolves.

Once you know who your villains are, build up their history. Give them a reputation, like I talked about in The Small Legend, and figure out what your players will learn about them.

For example, the head of the pack may have been noted Silver Fang Konstantin Romanoff, considered a shining light among his tribe. In his desperation for victory, and to prove himself, he traded his pride and his morals a little at a time. Now he fancies that his eyes are open, and that he has become the true king he was meant to be. A Wyrm Lord who will rule the polluted ashes of the new world... a werewolf Dr. Doom, if you're looking for a simple, gothic comparison. At his side the former Get of Fenris champion Ragnar Thorsson, whose brutal rages consumed him from within until eventually he declared his fealty to a power that never asked him to hold back. Den Mother Lorna Dane pledged herself to end the hostilities, and to spare the lives of the young, becoming a twisted version of the gentle soul she'd once been. And so on.

Once you know what your villains are, and what their reputations are, plant clues in the game for your PCs to learn more about them. Figure out which NPCs are going to be knowledgeable about these villains, and who will big-up their legend. If they have a personal connection to the PCs, ask if the villains were thought dead, but it turns out they're alive, but wicked. Then, once you have all of that information, ask what your PCs have to deal with before they even find out who and what the true villains of the story are!

It's all connected!

If your pack of Black Spiral Dancers are the big bads, chances are they have corrupt kinfolk working under them. They may have purely mortal servants, attack teams of fomori, first response teams from a Pentex subsidiary, or a dozen other servants carrying out their plans, as well. While individual pack members might be considered lieutenant villains of different arcs of the story, have the PCs come across clues about them. Maybe they're tracking down a group of dangerous kinfolk to question them, only to find them torn apart to the last man, expended shell casings all over the ground and silver slugs in the walls showing that whatever did it simply would not stop. Or perhaps the PCs find a powerful ally mortally wounded, and the ally tells them about the creature that hurt him so badly. Lower-level villains might talk if they're captured, or the big bads might even send messengers or communications to the PCs, either threatening them or congratulating them for their strength and cleverness in foiling their plans.

Once you have all of that set up, let your players work their way up the chain of command, getting in the way of the villains' plans, learning about them, and building up to a big conclusion. But do not skimp on the reveal of the bad guys' legends, or the presentation of what they're capable of. Let your players marinate, and really drink in exactly how much of a threat this could be for them.

While the above example uses corrupted werewolves, you could do the same thing with the True Fae in changeling, Methuselahs and Antediluvians in Vampire, or most other big bads that a game provides you with. If something is supposed to be a serious threat, and a major force to reckon with, take your time with it. Spool out their legend, let the players explore, give them little bits of story here and there, and show how other NPCs fear and respect these forces. Much like how most of the cast of a film talks about John Wick, you need to make these baddies your bogeymen.

And the less you have them physically there, but still present in the narrative, the more effective they tend to be.

For More World of Darkness Content!

If you enjoyed this week's post, and you'd like more World of Darkness or Chronicles of Darkness content, consider some of my supplements below!

Vampire: The Masquerade

If you need secondary villains and minions to pepper your story with, consider the following titles:

- New World Nights: 100 Ghouls For The American Camarilla

- New World Shadows: 100 Ghouls For The Sabbat

- Children of The Night: 100 Animal Ghouls

And those who are looking for a unique method to get information to their players might want to check out this piece, along with the audio drama of its introductory short story below!

- 100 Resources and Rumors to Find on SchreckNet

Werewolf: The Apocalypse

Perhaps the game line I've created the most content for to-date, those looking for unique NPCs should check out the following bundle, which has all 13 tribes, Black Spiral Dancers, as well as kinfolk for the mokole!

- 100 Kinfolk Bundle

- 101 Savage Kinfolk

Those who need additional villains (especially villains that can be used in multiple genres of the World of Darkness) should consider:

- Evil Incorporated: 10 Pentex Subsidiaries

Lastly, if you're a fiction fiend, I was part of a Werewolf anthology not long ago. Check this one out if you'd like to see even more tales told across the setting by myself and fellow contributors:

- Tales From The Moot

Changeling: The Lost

The game I've been doing the most work on lately, the ongoing tales from these supplements are also getting their own audio dramas! So if you enjoy listening to them, consider subscribing to the Azukail Games YouTube channel so I can keep the publisher greenlighting them!

- 100 Mourning Cant Dialects, Phrases, and Meanings

- 100 (Mostly) Harmless Goblin Fruits and Oddments To Find in The Hedge

- 100 Strange Sights to See in The Hedge

- 100 Hobs to Meet in The Hedge

- Buyer Beware: 10 Goblin Markets

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!

Rage Against Capitalism: Pentex as a Werewolf Antagonist

If you've ever played a game of Werewolf: The Apocalypse, then you're already passingly familiar with a lot of the game's central themes and antagonists. For those who haven't, you are one of the garou, shape-shifting warriors who have fought on behalf of the Earth Mother Gaia since time immemorial. Once upon a time the three major powers of the world, the Wyld (representing nature), the Weaver (representing order) and the Wyrm (representing destruction) all existed in harmony. But the Weaver attempted to control the Wyrm, and the Wyrm has gone mad, rampaging across the world in an attempt to destroy everything. As Gaia's chosen you are the one who stands against the servants of the Wyrm and attempts to bring back balance... or at least prevent the apocalypse.

It's a really unique game, and perhaps one of my favorite parts of the World of Darkness setting... but there's also no other RPG I've played that has made it clear we all need to work together if we're going to stop capitalism from destroying the world.

Maybe the Red Talons had a few good ideas after all...

Before I get too deep into this topic, wanted to remind folks that patrons are what keep the blog going, so consider becoming a Patreon patron if you can. Also, make sure you subscribe to my weekly newsletter to be sure you don't miss anything that comes off my desk in the future!

Pentex: Capitalism As Antagonist

There are a lot of themes in Werewolf, but most of them can be boiled down to restoring the balance. Werewolves fight to stop the Wyrm from destroying everything, they struggle to maintain their Rage so it can be used against their foes without harming their loved ones, and they often have to balance between the physical and the spiritual worlds. There's the balance between pride in their actions, and the horror at the things they have to do, and attempting to hang onto themselves and their principles in the face of the yawning void that waits to swallow them up.

Pretty heavy stuff for a game about turning into a giant furry death machine and rolling handfuls of plastic dice.

So where does capitalism come into this?

Since Werewolf takes place in the World of Darkness setting, which is a grim modern fantasy, it was going to have to address capitalism sooner or later. And the game doesn't mince words when it comes to this financial system, either. Because at its core capitalism is about an imbalance of power, the impossibility of infinite growth, and reaping the planet for every penny that can be made. From dumping toxic waste into drinking water, to running child labor camps, to imprisoning people on meaningless offenses and stealing years of their lives just to turn profits, there is basically no corner dark enough that capitalism hasn't tried to turn a profit off of it. And though there are some aspects of the game that let you use the tools of capital to further your goals (the Corporate Wolves camp of the Glass Walkers, spirits like Easy Credit and Almighty Dollar, etc.), even characters who use these tools would be trying to use money, investment, etc., to oppose things like child labor, human trafficking, and environmental destruction rather than profiting off of them.

The game itself personifies the danger of capitalism as Pentex, a conglomeration of corporations that all share interests, and which are connected to each other by board members, mutual profits, love of money, and lack of scruples. And in a game that perfected the Ever Present Threat that can never truly be defeated once and for all in the form of the Wyrm, Pentex is a solid runner-up in terms of a villain. Because you can't kill a single CEO, blow up a particular construction site, or expose any one network of abuses and cover-ups to get rid of what Pentex represents... someone else will just step up tomorrow to try to do it again. The logo will be different, and the stationery has changed, but it's the same empty suits trying to finish the oil pipeline, restart the coal plant, sell you the toxic product, or get you to hand over your money in exchange for a false blessing from a mega pastor.

While a lot of STs are leery about using Pentex in their games, preferring to focus on the purely supernatural threats like vampires, Black Spiral Dancers, fomori, and corrupt spirits, this corporate villain works really well when it comes to defining the shape of the battlefield. Because Pentex is often a purely mortal threat, which can allow players to really cut loose and feel powerful as werewolves... but it also presents a lot of moral challenges to them. Do you use lethal force against the security guards, most of which are just working stiffs who need a job (any job) so they don't wind up on the street? Is the loss of the economic gain to the community created by destroying a dangerous project (coal mine, natural gas pipeline, fracking operation, etc.) going to affect their spirits just as badly as the pollution would affect their bodies? Can your message of balance, community bonds, and living in harmony counter generations of propaganda about how greed is good, money makes the world go round, and it's a dog-eat-dog world?

Though Pentex can (and often does) mix with elements of the supernatural from vampire investors and company officers, to mad scientists trying to mass produce supernatural templates, etc., it often represents a very mortal antagonist that is just as hard to defeat as any monster from myth. And that can often ground your game in ways that are hard to accomplish just fighting banes and fomori all the time.

Though The Written Material Often Falls Short of Reality

For those who haven't come across it, I recently put together my own supplement for STs who want to have their players go up against corporate interests. Evil Incorporated: 10 Pentex Subsidiaries was a particularly challenging piece for me to write because of a problem that I kept running into time and time again.

Namely that any time you end up trying to make some kind of super advanced monstrous version of capitalism, you just end up making something that already exists, or which has happened in the past. And trying to add vampires or Black Spiral Dancers into the mix just feels like you're working in metaphors to soften the blow, rather than letting the villain just be what they are; a stark testament to the atrocities that a lot of humans are willing to commit in the name of profit margins and personal gain.

The introductory story, dramatized over on the Azukail Games YouTube channel, says it all, really.

According to the soft canon, the idea that would become Pentex was born in the Texas oil fields sometime in the 1800s... but for those who are students of history, and are aware of the crimes of the East India Trading Company, Pentex can seem like a Johnny-come-lately. And while Pentex is often supposed to be this cartoonishly evil collection of villains that feel like something out of Captain Planet, is it really so unbelievable that people would poison huge swaths of the population or destroy the planet for money? That's no different than how cigarette companies fought for years to suppress widespread information about their products causing cancer, or how oil companies knew about global warming for decades and kept it wrapped up so they wouldn't lose money. Companies like Tesla and Apple have been accused of using child labor in their products, and the American military has been directed by corporate interests for decades to those familiar with the banana wars.

Hell, in my research for Can Large-Scale Telecommuting Save The Environment?, I found numbers that consistently said remote work increases corporate profits and productivity, increases worker morale, lowers overhead costs, and reduces emissions by millions of tons a year. But corporations are fighting tooth-and-nail to force people to come back to work in the middle of a pandemic, spending more money to be less efficient and to put their workers at-risk while making them more miserable. Why? Because the middle managers were exposed as mostly useless positions when they didn't have tiny fiefdoms of office workers to lord over, and pretend they were an asset to the company, and that loss of face (as well as the potential to cut positions that it turned out weren't necessary) was all it took to start the meat grinder up again.

So if you're going to run Pentex as part of your games, keep all of this in mind. Because it might feel close to home, but at the same time it might provide a unique catharsis that defeating a vampire lord or overcoming a great bane spirit simply won't.

More Werewolf Stuff, Anyone?

If Evil Incorporated is enough to get your mind going, I've got other stuff for an Apocalypse game you might find particularly useful. So if you're itching for shapeshifting stories, check these out too!

- 100 Garou Kinfolk Bundle: With over 1,500 NPCs (100 for each of the base tribes, plus 100 mokole' kin on top of that!) this will ensure that you're never lacking for support characters in your game.

- 100 Stargazer Kinfolk: The encore guide that came out after the bundle was set, this is for all the players and STs alike who want to bring this enigmatic tribe into your game... especially if these mystics intend to oppose what both capital and the state are trying to do to Gaia in their part of the world.

- Deadly Country: 100 NPCs of Central Florida: While a lot of these characters can be swapped around to other parts of the country, one might argue that there are few places in America more primed to be a stronghold of Pentex than Florida.

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!

Activist GMs Are Something I Try To Avoid

Generally speaking we expect a judge to act dispassionately, and to weigh a case on its merits to see how the law as it's written applies to a criminal or civil matter. While these individuals tend to have some discretion in how they use their authority, the expectation is that they are attempting to implement the rules of society as they exist, rather than as they might like them to be.

An activist judge, by contrast, is someone who uses their position and authority to attempt to change or alter the law as it exists to better suit their personal belief system and ideology. This term is most commonly used for judges who sit on the supreme court in the United States, as there is not really a higher power above them that can double check their work for bias, personal slant, etc. when they rule on how a law should be applied. Best you can hope for if a ruling affects you in a negative way is that whoever sits in the big chair next undoes that ruling.

Game court is now in session!

I generally think this is a good framework to use when you're a game master as well. It isn't your job to rewrite the game, or to twist the rules outside of what they actually say because you don't like them. You're there to oversee that the rules you've all agreed to are implemented fairly for everyone.

For more use of this metaphor, take a look at my post Table Attorneys Vs. Rules Lawyers: How To Be Fair Without Bogging Down Your Game. Also, if you want to make sure you don't miss out on any of my fresh posts, be sure you subscribe to my weekly newsletter!

Rule 0, Cooperative Play, and GM Neutrality

I'm sure there are a lot of folks out there who are already preparing their rebuttals for the comment section, but before you put on your Caps Lock let me break down the totality of what I'm talking about when I say we should avoid being "activist GMs," and how that interacts with things like Rule 0, homebrewing, etc.

There's a lot of text here... so let's take it one issue at a time.

Now, to begin at the beginning, an activist GM is not someone who homebrews their own setting, who writes house rules for their game, or any of the dozens of other examples one could probably think of. I'm not advocating that we all play our RPGs exactly how they're written in the books with no changes or personal touches ever. That would make for a game that got pretty boring pretty fast.

As I've said repeatedly on here, every table is free to customize their game and setting however they choose to do so. If you want to make your own classes, alter how certain feats operate, change spells, or ignore anything from falling damage to alignment restrictions, you are absolutely free to do that... provided that as a GM you are A) up-front about any changes to your players, and B) that your players agree to the new changes and limitations you have made.

However many or few those changes may be.

So what would make someone an activist GM? Well, let's say you're looking over a player's sheet, and the swashbuckler they're running has a morning star. You decide that, though Swashbuckler's Finesse expressly says they gain weapon finesse with all light and one-handed piercing weapons that the spirit of the class was to recreate the Three Musketeers, so that ability only applies to rapiers and daggers. Also, they can no longer use the feat Power Attack combined with a finesse attack, because you feel that just isn't in keeping with how a dexterous fighter should function.

It's not that you're changing the rules... it's that you're changing them based solely on your personal opinions about what the so-called intent of the creators was (or should have been), typically in ways that disadvantage your players. Doing that without having a discussion with your players, or making it clear that's how you're going to run things just adds insult to injury.

It's like if you were making a case in court, and then the judge declared that you weren't allowed to cross-examine witnesses, or present more than three pieces of evidence, because they felt that was more in keeping with what the founders of the court intended when they wrote the law. Even if that's not what they actually put down on paper.

Let The Dice Fall Where They May

RPGs aren't perfect, and sometimes we can't house rule out all the issues we find in them before the first session. There are even times where you don't realize something is even a problem until you're halfway into the campaign, and suddenly the issues with a given mechanic are front-and-center. We're always going to have to make tweaks and changes as things go.

When we make those changes, though, they need to be with the consent and input of the players. Not only that, but changing something to better fit with your personal tastes or desires (whether it be giving half-orcs automatic negatives to Intelligence and Charisma because you think they're ugly and stupid, or stating that barbarian players don't get to control when or how they use Rage because you feel that's not how anger control issues work) means you're putting yourself before your players and their experience.

GMs should have fun, there's no two ways about that. You're a player, along with everyone else. However, you are just one player at the table, not a director telling the actors what to do as part of your personal vision. There needs to be room for everyone's fun and ideas at the table (within reason, of course), and you all need to be operating under the same rules.

And if those rules do need to change, they should be changed to make the game better for everyone involved, not just because they don't jive with a GM's personal image of how a game should run.

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!

Want Players to Stop Using Guns in Your World of Darkness Game? Play an Earlier Era!

It feels like I've written about guns in RPGs a lot over the past several years, but it's typically articles like 5 Tips For Playing Better Gunslingers for more traditional fantasy games where you've got flying lead alongside lightning bolts and dragons. But this resistance to high-caliber solutions isn't limited to Pathfinder, Dungeons and Dragons, and their kin... you also find it among World of Darkness and Chronicles of Darkness storytellers.

I'll take a pack of pencils, then,

Since this is something that seems to bother a lot of folks, I figured I'd get into the details of it, and my proposed solution for it, this week. As always, if you want to stay on top of all my latest releases make sure you sign up for my weekly newsletter to get all my updates sent right to your inbox! Also, if you want to help me keep the wheels turning, consider becoming a Patreon patron... every little bit really does help.

Why So Many STs Seem To Object To High-Caliber Solutions

The World of Darkness, as well as the Chronicles of Darkness, are modern settings. Even if you run a WoD game in the era it was written for, it's still being run in the 90s. So unlike traditional fantasy games, where guns are often viewed as a new invention that's recently been introduced to the setting, they've been around for literal centuries. Not only that, but one of the more persuasive reasons for the supernatural world to keep its head down is that enough mortals armed with machine guns, flamethrowers, high-powered explosives, etc. could wipe them out without breaking too much of a sweat if they were all discovered and the Masquerade broken.

It's one reason why Armory and Armory: Reloaded are two of my favorite books for Chronicles of Darkness, as they offer some pretty persuasive arguments why you should not start trouble with the mortal world.

Despite this, there are a lot of Storytellers out there who get their back up when someone attempts to use a mundane technological solution over a supernatural one, particularly when it comes to the more nitty gritty aspects of the game. Because while it's possible to create an enchanted thunder maul that strikes like lightning and can be thrown a dozen yards in combat with unerring accuracy, a fully-automatic, drum-fed riot shotgun with incendiary rounds deals exactly as much damage to a target without the need to entreat the spirits, prove your worth, or conduct a full-moon ritual sacrifice. You just need to put in a call to Paul, the balding nerd with the weird gun fetish, and spend the necessary cash to get it in your hands.

No parley? Shame... shame...

The argument, in this case, is startlingly similar to what you'll see in a DND or Pathfinder game. Storytellers, when I've managed to nail down definite, specific answers, always bristle that there's a completely mundane tool, weapon, or solution that's as powerful as magical ones, but which don't have the same limitations and controls as the magical ones do. You just need the proper Resources or Allies to get your guns from the black market, and all of a sudden you can punch way outside your weight class regarding the kind of foes you can take on.

While that is true in some respects, there are two salient points that need to be made here that I think a lot of STs overlook, or forget about.

First, big, powerful guns tend to be tough to hide both during transportation, and during use. Because while the weapon described above might tear through the ranks of fomori, it's not something you can just hide under a coat. And when you hold down that trigger, it's likely going to break windows at 10 yards just from the sound alone. So even if a player has access to these weapons, they aren't going to be able to use them cavalierly unless you're constantly attacking them in either the middle of nowhere, or in the unique pocket realm that it seems every sphere has one of.

Secondly, because these tools are completely mundane, they're going to be investigated and noticed by the mundane world. If a PC runs amok with their mini-Mjolnir cracking skulls and casting lightning bolts, mortal investigators aren't going to be able to make heads or tales of the evidence without concocting some bizarre story. No one is going to put out an APB for a man carrying a magic hammer. By contrast, black market firearms are going to get noticed by local cops, and possibly by the ATF, which means players need to be extra careful with when they choose to cut loose, and when they use a quieter solution. Even legal, commercially-available firearms require permits, and using them in public can lead to a lot of nosy questions from the authorities if players aren't very careful with how they do things.

Don't Want Modern Solutions, Don't Run a Modern Game

There are other advantages to guns in the World of Darkness as well. They allow you to attack multiple targets in a single blast, their ammunition can be modified to take advantage of enemy weaknesses, and in the Chronicles of Darkness they ignore defense and can only be countered by armor and cover. So if you're going to be running a game with a lot of combat in it, then it just makes sense that at least some folks are going to gravitate toward the most dangerous tools to ensure they come out ahead when all is said and done.

Choose your next words carefully, I've got silver loaded in here.

However, the solution is not to simply tell your players they can't have guns. With so many ways to get your hands on these tools (especially if your game is set anywhere in North America) it breaks immersion really fast that someone with underworld contacts, a lot of money in the bank, or just the ability to machine and tool their own parts and pieces cannot acquire these weapons. They're a ubiquitous part of the modern world, and telling players they can't have or use them would be no different than making them write letters and send telegrams instead of making a phone call.

This extends to basically any other form of modern technology, too. Whether it's STs tired of hackers destroying an area's security system, or players using vehicular combat as a way to turn a dump truck into a battering ram, if you don't want players to use modern solutions, then don't run a modern game.

Instead, run something in the past. Period, full stop.

I Guarantee You'll Have Just as Much Interest

On the one hand, running a game set in the past is more difficult than one set in the present. The cast of current NPCs running things is different (for those who use the existing lore), certain major events may not yet have occurred, and then there's the matter of making sure you have a firm grip on actual world history so that you can convey the proper setting and tone for your players.

With all of that said, though, this is one of the most organic ways of rewinding the progression on technology that also creates an utterly unique experience that your players are not likely to forget anytime soon.

We're going werewolf hunting, you in?

Whether you want to go full Van Helsing in the 1800s for a Hunter game, you want to run Mage set in the dying days of the Roman empire, or you want to play a Vampire game during the Black Death while the Inquisition is hunting the supernatural community, this one change is going to create one hell of a game. Even if it's something short-lived, like participating in the hunt for the Beast of Gevaudan in Werewolf, or a short arc for Changeling set during the spiritualism craze of the Victorian era in London, changing the era gets you what you want (removing the smorgasbord of modern-day technologies that can feel ubiquitous), while also giving your players a unique experience (an entire period of history they've likely never gotten to play in).

While it might seem like a lot of work (and it is, don't mistake me on that), I guarantee this approach would go over a lot better than just handing your players a list of tools and tech they're not allowed to use, or which you're going to restrict because you feel it isn't fair to the more spiritually-inclined players to have their magic eclipsed by the latest from Smith and Wesson.

Hell, there's even an entire Dark Ages series you can use! If this is something you haven't considered before, then check out the following titles to get your brain wheels turning:

- Dark Eras (Chronicles of Darkness)

- Dark Ages: Vampire

- Dark Ages: Werewolf

- Dark Ages: Mage

- Dark Ages: Fae

- Dark Ages: Inquisitor

- Dark Ages: Blood and Silk

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!

Organized Play, Universal Rules, and Frustrations of a Traveling Gamer

Regular readers know that, before the pandemic at least, I was a fairly regular LARPer. In fact, a majority of the World/Chronicles of Darkness games I've been a part of have been LARPs, rather than sitting around a table rolling pools of d10s. And while one or two of those games have been independent, most of them were (or at least claimed to be) part of an organization.

Not all organizations are created equal, though. Which is why I'd like to talk about something that seems to crop up time and time again, and it's a massive frustration that I'd highly recommend folks do away with entirely in the future. Because if you're going to claim you're all playing the same game, you need to actually be playing under the same rules and canon.

This isn't "A Tale of Two Cities" RPG edition.

Before we get into the meat of it, make sure you sign up for my weekly newsletter if you don't want to miss any of my new releases and upcoming content! Also, if you're a fan of the World of Darkness in general, consider checking out my 100 Kinfolk supplement bundle for Werewolf: The Apocalypse (with 100 Stargazer Kinfolk as an extra), as well as my fresh-off-the-presses supplement New World Nights: 100 Ghouls For The American Camarilla.

And now, on with this week's tale!

How Organized Play is Supposed To Work

For those who've never come across organized play for a LARP before, the concept is actually pretty neat. The way it's supposed to work is that all the games being run by the organization are part of the same overarching chronicle, and the events that happen in one location can affect events happening across the board. Not only that, but players can take their characters on the road, showing up at sister games and bringing their characters to meet new folks, engage in away plots, etc.

It has the result of making a chronicle actually feel big, rather than just being told it's big even if the plot ends at the boundaries of your venue.

No condensed world for me, thank you!

For games to work on this scale, though, it's important to have a universal standard when it comes to the rules that are in place, and to make sure that communication is happening to prevent glitches in stories.

And, for all of the things I didn't like about it, Mind's Eye Society (formerly known as the Camarilla, I believe) managed this aspect pretty well.

For example, they put forth a list of official organization modifications and house rules for players in all venues to follow, and storytellers had to adhere to these rules. This prevented different venues from running drastically different versions of merits or supernatural powers, or having one venue that completely barred certain abilities that were allowed in a neighboring game. If a particular power or ability was considered rare or unusual then a player could file a request for it, and if the request was granted it would be attached to the character sheet and honored at every venue. Even if the ST of a particular game didn't like that your character had access to a rare Discipline, or they possessed a merit that was usually restricted, if you put in the effort to get it approved, then you could use it in play. And if STs were abusing their authority there was someone over their heads a player could reach out to in order to file a complaint. While there's plenty of folks who've pointed out this option wasn't always effective, the fact that it existed is still something I considered a positive aspect.

Additionally, the use of canon resources was tracked to make sure that the games had a unified feel to them. As an example, if a storyteller wanted to bring an important, named NPC to their venue for a particular game, they had to notify the organization and get it approved. Not because the character was so special it could only be allowed out of the toolbox once an ST proved they were responsible; rather, it was to make sure you didn't have the same character in half a dozen games at the same time, screwing up the canon. Similar notifications would need to be submitted for effects that could affect other venues, as well as national or global plots. It kept everyone on the same page, and ensured the world fit together properly.

In short, your game was not allowed to be an island. If you were part of an organization then (at least in theory) you were agreeing to be part of a greater whole. You could still run your own plots, create your own NPCs, and do things your own way, but there were limits imposed on the amount of discretion you had if it went outside of certain bounds.

What I found out as I sought out other games is that there are a lot of storytellers who use the phrase "organized play" to describe their games, but who don't seem to realize it doesn't mean what they think it means.

You Can't Have Your Cake and Eat It, Too

When I stopped attending Mind's Eye Society games (drive was too long, wasn't feeling the current chronicle, attendance was down, etc.) I started seeking out other games to fill the void. I tried Werewolf, I tried Vampire, and I even managed to find a Changeling game or two. Nearly every game I attended lured me in with the promise that, though they were part of a smaller organization of games, they were definitely an organization. So my vampire, my werewolf, my changeling would always have at least two or three sister games they could go to, giving me access to a variety of weekend games whenever I had the time and desire to attend.

It was exciting... until I realized that my definition of organized play was wildly different from the one a lot of these storytellers were operating under.

What? No, that's not how that works here. I don't care what Geoff does in his game.

What many of these smaller gaming groups meant when they said they supported organized play was, "We have a loose canon with the other games, and we agree to allow players to travel and bring their characters so we can all play together." The aspect they didn't mention, though, was there was no universal, agreed-upon set of rules we were all using. And worse, every ST ran their game their own way.

It was exhausting to keep track of. In one venue certain vampire Disciplines worked one way, but in a sister venue they worked a different way. In a third venue only one or two powers from an entire Discipline were allowed, even if you had dots for the others. One venue had expanded social penalties for werewolves who used firearms, despite it not being canon to the game. Another venue ignored that entirely. One venue approved a custom made magic item for a changeling, and another one refused to allow it at all.

It was enough to make your head spin.

For some of my fellow players, this wasn't really an issue. Their characters were using the most common paths of progression, and they weren't really affected by too much by these changing paradigms. Other folks were frustrated by it, but they enjoyed the social aspects of the game enough to put up with the unique idiosyncrasies of the different venue storytellers and their staffs.

However, once it became clear that every storyteller basically wanted to have their own game run their own way, I was out. And nine times out of ten I felt like a canary in the coal mine, because the games almost always folded not long after I walked out the door.

Storytellers, This Isn't "Your" Game

If I had to address one lesson I learned throughout this journey, one central problem that I felt was foundational to all the other issues, it would be to remind storytellers out there that this isn't "their" game.

What I mean by that is every storyteller needs to remember that it is their job to create something for players to enjoy. However, too many times storytellers get their egos caught up in the process, or they insist their way is right, or better, or simply that no one else is going to tell them how to do things in their own game. Sometimes they just slap players' hands because the players want to solve plot in a way the storyteller doesn't like, or didn't expect. That's bad enough when it really is an independent venue, but if you're even putting out the pretense that you're part of an organized setup it can be downright toxic to player enjoyment and confidence.

If you tell your players their characters are part of an organization that allows them to play in multiple venues, then those venues need to all be running on the same rules and baseline assumptions. Otherwise it's like you're trying to watch different episodes of the same show, but the art style is completely different, the setting details change from one episode to the next, and none of the abilities they have in one season seem to apply in the other.

In short, what's meant to be a major selling point turns into a slurry of nonsense that can undermine trust. Because if you don't deliver on the promises you make to your players, that's going to make them trust you less and less as the game goes on. And if your players don't trust you, pretty soon you won't have any players at all.

What's Next on Table Talk?

That's it for this installment of Table Talk! What would you like to see next? Or do you have your own story you'd like to share with folks?

For more of my work, check out my Vocal archives, as well as the YouTube channel Dungeon Keeper Radio where I help out from time to time. Or, to check out books like my hard-boiled cat noir novel Marked Territory, my sword and sorcery novel Crier's Knife or my recent 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, and Twitter, as well as on Pinterest where I'm building all sorts of boards dedicated to my books, RPG supplements, and greatest hits. Lastly, 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 donation can have a big impact.