Character Secrets Don't Matter If No One Finds Out About Them

Everyone loves a good plot twist, or a fun character reveal. The problem arises, though, when players (or even the GM) squeeze the story so tight to their chest that they end up smothering the secrets they were holding. Because while having a big reveal in your back pocket can be fun, if no one else is ever going to find out about it then it may as well not exist.

Which is why you shouldn't just know what your character's secrets are, as I mentioned in What Secrets Does Your Character Hide?, and elaborated on in the character concept The Onion of Secrets. You should also know how that secret is going to matter to the story you're all telling, and have some idea of how you're going to start revealing it to the people sitting around the table with you.

If they never dive down, how would they know?

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!

The Spice Needs To Go Into The Soup

Once you know what your character's secrets are (whether they're a secret vigilante, they were born to a noble family, they were a bandit in a former life, etc.) you can think of them as a little dash of spice. However, if you never actually add that spice into the dish, then it won't make any difference to the overall experience. However, adding in the spice at the wrong time, or in the wrong amount, can also ruin the presentation and flavor when all is said and done.

And this is why it's important for you to consult with the head chef (the Game Master) to make things come out just right!

Mmm... this one might be too salty. Let's do a half dose of this, how's that sound?

First things first, character secrets should be a collaborative effort between you and your Game Master. The reason for that is because the GM is the one who needs to facilitate a good reveal, and to help you set the stage so you can stand in the spotlight for a moment when it comes time to let everyone else in on the secret.

Secondly, once the Game Master agrees your secret will become part of the story, try to work with them to come to that appropriate place so that the collaboration stays strong. As an example, if your character used to be an infamous assassin before they joined the church and took the vows of a cleric, work with the GM to figure out when (and how) you want that information to come out. For example, do they have secretive tattoos or brands they keep hidden until they're revealed when the party is taken prisoner? Do they speak a particular language only known by members of this secretive order, and they have to reveal that to translate critical intelligence? Or do they find people who recognize them from their old life for one reason or another? Because sprinkling in these clues, or just adding in the big reveal at a dramatic moment, can really make the story sing.

Where a lot of players mess this up, though, is they will either keep their secrets extremely close to their vests to the point that they never come up in the game at all, or they will try to spring this surprise on their fellow players and on the Game Master, which is a terrible plan because it can create unnecessary confusion that will undercut the reveal.

Timing and placement is extremely important for maximum story impact. Because say that your character was actually a princess, but she ran away from her royal responsibilities to become an adventurer. Classic twist, very fun. However, if you aren't coordinating this with your Game Master then you don't have any in-world structural support for this character's entire secret backstory... and even if it is allowed to stand, there won't be anything in-place for the plot that this reveal will actually affect. But consider what might happen if you were in communication with your Game Master. Because if you wanted a secret princess reveal, and the Game Master agreed, then at the very least there's likely to be people looking for the missing princess. But it's also possible that the villain for the campaign will be a family member of hers, and that she has a legitimate claim to the throne that could lead the party to commit a coup rather than leaving her evil uncle or sadistic brother sitting on the throne.

Long story short, if you want your character reveal to have a real impact then it's going to require scaffolding and set dressing to really facilitate it. And if you don't work with your Game Master to set the stage, then the reveal is going to fizzle out... so make sure all the setup is in place before you step onto your mark!

Lastly, if you found this week's post of-interest, then take a moment or three to check out my supplements 100 Dark Secrets as well as 100 Questions To Ask About Your Characters.

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

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!

Assigned Motivation in RPGs

Oceans of ink have been spilled by people writing about character motivation. From lists of potential motives, to questions to ask about your character, to story concerns, and the intricacies of the unfolding plot, few aspects of the game are as important as figuring out why your characters are doing the things they're doing.

Hell, it's why my supplement 100 Character Goals and Motivations is an Electrum seller, after all.

However, while characters should always have personal motivations that come into play throughout a campaign, a lot of Game Masters overlook the expediency of a game that comes with assigned motivation... often to the point that a lot of people are completely unfamiliar with the idea, or they consider it a form of unacceptable railroading.

So let's talk about that this week, shall we?

Forward! Go, go, go!

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

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

The Mission IS Your Motivation

The standard model of many RPGs is that player characters form some kind of party, and then go off on an adventure. Sometimes they're mercenaries, and sometimes they're brigands. They might be wandering around looking for a reward, or for good deeds they can do. In these kinds of games the characters' personal motivations are often what takes center stage for each of them. Maybe there's a holy warrior attempting to follow their god's will, they team up with a former soldier trying to find where their next meal is coming from, and they cross paths with a savage warrior seeking some trial grand enough to act as a rite of passage for their people. These motivations are all very personal to the characters in question, and wildly different from one another. Generally what a GM will do at this point is figure some way to weave together all the characters' independent goals and motivations into the unfolding plot, dangling hooks for each of them to get them to work together.

And that is a lot of work... both on the players' parts, but also on the GM's part.

Assigned motivation works differently. In this structure, every character is part of a unit, an organization, a group, a cause, and that cause has the ability to assign them to handle matters on its behalf. You and your fellow party members aren't necessarily going to handle the current issue du jour because it fits with your moral code, or because there's treasure to be gained, or a reputation to be won... you're doing it because your commanding officer assigned you to go and take care of it!

Now, this is the method I used for my own RPG Army Men: A Game of Tactical Plastic, precisely because it's a military-themed game. Because yes, your characters should be individuals with their own wants, their own goals, and so on, but you're in the squad to do a job. And sure, maybe your medic joined up because they couldn't afford to go to medical school, and a tour of service will help them do that. Maybe your grunt is fulfilling a family tradition, and he's a third-generation soldier. Maybe your ordnance specialist caught a charge for arson and weapons trafficking, and he'd rather join the army than do time. Whatever the reason, and whatever goals someone is shooting for, they're still going to go and deal with the missions that command sends them on. They don't have to like it, but that's the agreed-upon framework for the game and story.

And this isn't a new idea by any stretch of the imagination. You see this same setup in the Warhammer 40K RPG Dark Heresy, where the PCs are all part of an inquisitor's retinue, and expected to complete the tasts and assignments the inquisitor gives them. You'll also see something similar in Spycraft, which is a game that I personally took a lot of inspiration from when designing Army Men. However, this same setup can be used in any RPG if your GM sits everyone down and says, "Okay, I want you all to be part of a mercenary company, a squad of town guards, conscripts in a current war," or whatever other flavor they've come up with.

On the one hand, there are a lot of players out there who do really well with assigned motivation in a game. Being told by the GM that they need to make a member of a knightly order, or a soldier in an army, or someone who works for this fantasy world's secret service takes the pressure off of them when it comes to character motivation, and it allows them to color within the lines they've been given. However, there are also players (and even Game Masters) who really don't care for this approach to character building and game management. They often feel that it means they can't make their own, individual characters with their own, individual goals, and that they're expected to just fall in-line, and to go along with the motivation that's presented to them.

Now, just to reiterate, preferences in your game are perfectly fine. But if you've never tried using assigned motivation in your campaigns before, consider giving it a shot if it sounds interesting to you. Just remember that it's something you need to bring up with your players early on in discussing the game, and you need to make sure you have full buy-in from everyone.

Or, if you really want to, you could try any of the games I've mentioned here, and see if they agree with you!

Like, Follow, and Stay in Touch!

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

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

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

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!

Zombie Games Are Almost Never About Zombies

While I was writing a recent article, The Zerg Rush (An Underused Combat Encounter), I started thinking about zombie games. Because whether you're running an All Flesh Must Be Eaten game, a Dark Horizons campaign, or something else that involves hordes of the walking dead, it's important to remember a truism of the genre.

Namely that the best zombie stories are never really about zombies.

So... existential dread and the death of human community? That's way worse than zombies...

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!

Zombies Are The Means, Not The End

From Night of The Living Dead, all the way up to The Last of Us, zombies have become a staple of the horror genre. They fill movies, TV shows, comic books, and of course tabletop RPGs. They're some of the most standard enemies you can face in most fantasy modules, and even some sci fi ones, and there are entire games dedicated to zombie apocalypse style setups.

In these stories, the zombies are the means (or one of the means) you use to tell the story in question... but in the really good stories, the zombies are never the end your players are striving for.

We are the mirror you hold up to show society, and one's own humanity.

Let me take an example from popular fiction to explain what I mean, here. The book World War Z: An Oral History of The Zombie War is a collection of interviews and accounts with people who lived through this horrifying conflict, and it immerses the reader in this fictional time and place. It tells us the stories of civilians who hid out in the wilds, of politicians who tried to respond to the crisis, of soldiers on the front lines, and of people who were just average, working stiffs who were just trying to rebuild their communities in this horrifying new world. It's a fantastic read, and well worth all the praise it receives. The film based on the book, though, is a generic action movie that gives us a single perspective of a single character who ends up being the doctor that finds how to beat the virus, and to save the world by removing the zombies entirely.

Do you see the difference between these two things?

As an alternative example, take my All Flesh experience that I talked about in The Best Zombie Game I Ever Played (Where Nothing Happened). To recap, the game was set in Northwest Indiana, and our characters were all perfectly normal people caught up in a zombie outbreak. The goal of this single session was for us to get to an extraction point, and escape the infested region. The purpose of the storyline, though, was for characters who didn't know each other to develop connections, to learn to work together, and to pool their abilities to overcome threats while developing a bond together. You could have replaced the zombies with an army of aggressive black bears, an outbreak of any other disease, or even a natural disaster like a flood or a massive fire, and the story still would have had those elements front and center.

The zombies were not the point of the game, they were merely the factor that facilitated the characters' needing to come together to save themselves. This is, I would argue, the way zombies are supposed to be used. Because they are dangerous, yes, but they shouldn't be just a monster. Not only that, but opposing them, defeating them, eradicating them, shouldn't really be the point of the game.

So before you run a zombie game, ask what the purpose of the zombies are and what are you going to use them for?

Are your zombies the factor that led to certain world changes, leading to crumbling societies so there are now warring tribes of people trying to scrounge for resources? Are they a representation of empty consumerism, showing that to overcome them people have to move beyond selfishness, and to embrace a community in order to survive? Are they representative of how you can lose loved ones to cult mentality, or how hard it is to let go of people who've become toxic and don't want to get better, showing people who have to fight against those they once held dear? Are the zombies being exploited for gain by some powerful faction, showing how those with a vicious mindset will do anything, no matter how terrible, if it means maintaining power?

In most of these cases, the zombies could be replaced with a slew of other things, and the stories would still be poignant, and the games would still have challenges to overcome, while dripping with drama. The story isn't, at its core, about just caving in skulls and running over shambling corpses that have been reanimated into a shuffling, groaning parody of life.

I mean, you should have those things, but that shouldn't be as deep as it goes, or things are going to get really repetitive really fast!

Resources For Your Zombie Games

It's tough running a good zombie game. If you need some help with the heavy lifting, might I suggest checking out some of the following supplements to give yourself a couple of handy cheat sheets?

- 100 Descriptions For Modern Zombies

- 100 Descriptions For Modern Zombies II (all good zombie products need sequels)

- 100 Transmissions To Hear During The Zombie Apocalypse

- 100 Sights To See During The Zombie Apocalypse

- 100 Improvised Weapons To Find During The Zombie Apocalypse

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!

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!

Not Every Story Element Requires Mechanical Backup

Folks who are long-time readers know there are few things that make me happier than mechanical freedom. I talked about this in depth in Understanding The Difference Between Story Freedom and Mechanical Freedom, but the short version is that mechanical freedom is when the game rules create specific effects that back up your story explanation. If your story is that when you get enraged your strength increases, then you need a mechanic like the Rage class feature (or something similar) to make your story flavor a fact in the game world. If your story is that you're a prince, then something like the Noble background, or the Noble Scion feat, is kind of necessary to give that teeth. And so on, and so forth.

However, it's possible to take this concept too far. Which is why I wanted to take this week's installment to talk about how to judge whether an aspect of your character really needs mechanical backup, or if you can just say it exists, and move on with the game.

Because sometimes story really can stand on its own.

As always, if you want to help me keep the wheels turning, consider becoming a Patreon patron. And if you want to stay on top of all my latest releases the make sure you sign up for my weekly newsletter as well!

Will This Affect The World Mechanically?

Game mechanics, generally speaking, serve a single, broad purpose in RPGs. In short, any time there is a conflict, the rules exist to mediate and resolve that conflict in a fair and balanced way. And if there is no conflict, then there's no need to get the rules involved.

Only roll the dice if success is in doubt.

It's also important to point out that when I say "conflict" I'm not just talking about fighting in RPGs. A conflict is, generally, whenever you want a certain action to happen and there is something attempting to stop that action from happening, so you need to use the mechanics to figure out which result happens. And sure, does my strike cleave the hobgoblin's head from his shoulders is an example of conflict. So is asking if you successfully persuade the merchant to show you his VIP goods, if you manage to sneak past the sleeping dragon, or successfully craft the enchanted blade you've been working on.

However, if there is no conflict, then you don't need the mechanics to be there. You can just make statements and let the story flow.

A simple example is saying you want your tiefling to have eyes like a goat. Or that your elf has green hair and a braided beard. Or your dwarf has sixteen children. These are just aspects of who they are, and the story you're telling. They don't really affect the mechanics of the world, but they fill in the blank spots and personalize your character and contribution to the story. And you should be coloring in those empty spaces... the problem is that a lot of us are looking for lines that aren't there when we start trying to fill in the gaps.

Don't Impose Limits That Aren't There

Lots of players and GMs look at rule books and feel overwhelmed by all the control the rules exert... but the rules are merely the physics of the world. They are the natural laws that govern the game. And though they are important (and often in our faces for a lot the nitty gritty parts of a campaign), it's important to make sure that what we think is a rule, and what is actually a rule line up. Because a lot of the time the rules as they're written don't actually impose as much control on the character you're making (or the story you're telling) as you might think.

For example, there's nothing in the rules that says your paladin must be a knight. Nothing says your rogue has to be a thief, or even a criminal of any sort. Nothing prevents your orc from being a wizard, or your dwarf from being a heavily-tattooed surfer from a volcanic island (more on that below). Your gnome can be of noble birth, your goblin can be a cleric of the goddess of beauty, and your drow could have been raised by adopted dwarf parents in a clan stronghold.

Unless there is an actual consequence of an aspect of your character (you need to have a certain Strength score to be believable as a champion arm wrestler, you must be at least a certain age in order to have experienced particular world events first-hand, etc.) you basically have carte blanche to fill in those blank spaces as long as your GM doesn't naysay you.

And, perhaps just as importantly, make sure you draw a distinction between what is purely flavor text, and what is mechanical function. Because if you want your sorcerer's magic missile to look like flaming skulls in Disney-villain green, there is no reason you can't do that. If you want your barbarian's Rage to manifest as a completely blank affect, becoming almost an automaton who feels no fear and shows no mercy, that doesn't change the morale bonus you receive, and it gives you a unique spin on how the mechanic looks for your character (and it's one of many options I discussed in 50 Shades of Rage).

Because rules are important when it comes to keeping the game fair, and making sure no one is getting special treatment. But we have a lot more freedom than we seem to think within those rules to define who our characters are, and to tell our stories round the table.

Also, Dwarves of Sundara is Out!

Before we go, I wanted to share the latest installment in my Sundara: Dawn of a New Age RPG setting... Species of Sundara: Dwarves is now out both for Pathfinder Classic and Dungeons and Dragons 5th Edition!

There are dangers in the deep... and across the whole of the world!

I'm going to be doing a deeper dive on this in an upcoming post (and hopefully giving folks a more focused look at how I'm changing up dwarves for my setting), but if you need a quick reason to give it a look, I'd say the Takatori should do it for you. These heavily-tattooed, volcano-dwelling dwarves were directly inspired by my old article Do Dwarves Surf? Tips For Diversifying Non-Human Fantasy Races. Perhaps one of the pieces that got me the most hate mail, I decided it was time to finally make those particular dwarves a reality!

Like, Follow, and Stay in Touch!

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

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

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

What is Nordic LARP (And Why It's Not For Me)?

While live action games have understandably been on hiatus for a while now thanks to the pestilence blanketing the land, as vaccinations grow more common many old games are starting back up again. Not only that, but a lot of fresh groups are sprouting, now that they've had time to plan, recruit, and gauge interest for their player base. And though I have been missing LARP something fierce, there is a growing trend that has kept me home as surely as the plague has.

Nordic LARP.

No, not THAT kind of Nordic LARP!

Before we continue, I am very aware that this is the preferred style of game for a lot of folks out there. I'm not knocking anyone who likes it, or who wants to try it. If it's the kind of thing you really enjoy, then god speed and get weird with it! And if you finish this, and you decide you'd like to see me talk about LARP some more, consider checking out my older posts 5 Tips To Get The Most Out of Your Next LARP, as well as 5 (Specific) Costuming Tips For Your Next LARP!

And, as always, for folks who want to get all my newest releases sent straight to their inboxes, don't forget to subscribe to my weekly newsletter!

First Things First, What is Nordic LARP?

While it sounds like a regional designation, Nordic LARP is actually referencing a style of play that first became really prominent in Scandinavian countries. According to LARPing.org, Nordic LARP is defined by a focus on cooperation between players to create and develop story, atmosphere, and drama. Additionally, these games tend to be extremely rules light, with only a few pages of rules at most that are specifically designed to fade into the background so as not to break immersion.

In some games this focus on the players and player experiences goes so far as to exclude outside plot almost entirely, with few or no monsters, NPCs, and other staples of the sorts of games often found in America, the UK, and other nations with active LARP scenes. Often times there's even a total lack of mechanical alteration or advancement to the player characters; no one gains experience points, goes up in level, acquires new powers or skills, etc. All character development is in a story sense, rather than in a more mechanical one.

Problem #1: I Don't Trust My Countrymen

There are probably a lot of folks who read the previous section and started getting excited. Especially the sorts of players who are more interested in the social aspects of a game, the improvised acting, and the pageantry of a LARP than they are in the crunchier game aspects of things. No disrespect intended here either, because folks who can go for half a dozen games without pulling out their character sheets, and who can remain firmly in-character without needing to even reference their skills or attributes are still valuable players who add a lot to the games they're in.

I sense a "however" coming...

However, there are two things about this setup that leave me very cold. One of them is very personal, and the other is more based on the experience I've had as an American LARPer. We'll start with the second one first.

The reason Nordic LARP received its name is that the cooperative, community-oriented nature of the countries where it first got popular means the population is already experienced with this sort of group-oriented activity. There is a genuine buy-in, and a desire to allow everyone to help move the story along. Now I don't know if it's because I've only LARPed in America (largely with other Americans), or because most of my games have been various spheres of the World of Darkness, but the idea of players setting aside their own egos, their own glory, and getting their own way to do what is right for the game at-large is enough to make me laugh until bitter tears roll down my cheeks.

Now, this doesn't apply to everyone I've LARPed with. Hell, it doesn't apply to most of them. But in every LARP I've ever attended there's always a few players who would act in bad faith. People who would always try to circumvent standards, the stated desires of other players, or even the established parameters of the game to get their way. Sometimes there were a lot more of these players than I was comfortable with. I've never attended a game where there were none of them.

Ideally you would just play games that excluded those kinds of players, or which adopted a policy that bad behavior would be punished with expulsion from the game. That sound you hear in the distance is all the other folks who've played in the same games I have, and who've experienced just how hard it is to remove broken stairs from a LARP, laughing uproariously. It's not impossible by any stretch of the imagination, but it falls into the same category of telling me that a bunch of American players are suddenly going to work cooperatively toward making the best story they can.

I don't disagree that it's possible. My experience, however, tells me that it is highly unlikely to happen without a lot of coaching, teaching, and hard work.

Problem #2: "Good Story" Isn't As Objective As Rules

This is the personal reason, huh?

Trust issues aside, I will fully admit that this sort of game is entirely possible to create and run. The fact that these games are popping up all over is proof that people who want it will work to make it happen, stumbling blocks or no. However, if we're judging where a story goes based on whose ideas are most palatable to the group, that is not a fair or unbiased metric. And I say this knowing that I have a very unfair advantage in this scenario; telling stories and crafting narratives is literally my job, and has been for going on a decade now.

Additionally, the idea that someone can essentially get their way in a game by being creative rubs me the wrong way (even if it's putting the ball squarely in my court a lot of the time). I don't want my character to succeed or fail based on how well I spun an idea, or how I suggested a plot twist. I want the result to be decided based on the numbers. If my vampire manages to dodge through a hail of gunfire completely unharmed, tear off someone's head, and then rip out an adversary's heart, I want it to be because I pulled the cards, made the chops, etc. to pull that off by the rules and numbers rather than because I convinced other folks that's how it should go down. Or if an ST, or even other players, want to see my character lose in a fight, get brought down by poison, or even just fail an arm-wrestling match, I want it to be because the mechanics of the game say that's what happened rather than because the story-writing committee agreed that's what they wanted to see.

Don't misunderstand me, I love (and demand) story from my games. I enjoy the drama, and the high stakes, and the emotional moments as much as anyone. However, I also believe that the best way to keep a game fair is with objective rules that can resolve conflict without bias, allowing the dice/cards/chops/etc. to decide how something goes when actions come into conflict with one another.

That is an extremely personal take, and I'm well aware it won't be for everyone. However, this is an issue that's kept coming across my dashboard recently, so I wanted to articulate my thoughts on it. Again, this is in no way meant to diminish other people's likes and tastes, merely to unpack some of my own thoughts in the hopes that other folks can examine my perspective when thinking about this topic.

Speaking of Storytelling... I Do Have New Books Out!

I couldn't find a way to work this into the above section without it sounding like bragging, but it's been a busy damn summer, so I wanted to remind my regular readers that in addition to fresh gaming content like Gods of Sundara and 100 (Mostly) Harmless Goblin Fruits and Oddments to Find in The Hedge, I've also had two novels drop this year!

It's back!

Old Soldiers dropped on the first of July, and this dystopian thriller follows a squad of defunct super soldiers as they try to unravel a conspiracy in the subterranean city of New Liberty... before said conspiracy puts them in the ground alongside all their other brothers and sisters who fell during the Hyperion Conflict.

Or perhaps cat noir?

My other recent release was Painted Cats, the second novel in my cat noir series. Leo has another case when an old flame of his comes around, asking him to help her nose around for a friend of hers. Mischief has gone missing, and her kitten Trouble is worried sick about his mama. Leo isn't sure what he'll find, but as usual when he puts his nose into something he finds that's when the claws have to come out.

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!