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Ask the GMs: What we have here is A Failure To Cooperate


Ask the gamemasters

Campaign Mastery was asked,

GM Izzy: “I am a very green GM running a pulpy run around campaign set in modern day London, everyone has a laugh each session but it is impossible to progress with any major plot points because the party stoically refuses to coalesce into, well, a party!

I have tried throwing in threats to their safety alone, NPCs hinting they may want to stick together, bonding them through their crimes and even casually asking them out of character if they ever intend to work together.

Put simply, I am at the end of my tether trying to make them work together without being a mad fascist dictator about it.  Any advice?

I have a party of 6. I gave the group a character brief ‘someone who would live/or be in London’. So I have: a member of the house of Lords, a merchant banker, a stunning russian socialite, a theatre critic, an MI5 agent, an office peon and a theatre critic.

After the opening session, the theatre critic, MI5 agent, peon and socialist all sat in a cafe together and bonded, then went their separate ways.

The Lord stole the bag of clues the party had been given and drove off and the merchant banker after being stabbed by an NPC went alone to A&E.  I had given them the act of murder against an NPC along with an important set of clues and another NPC who told them to stick together – but they ignored that.  Then the next day I managed to contrive to get them in the same place at the same time, where they all discovered what they had in common (semi possession by a mythical god), and then still managed to decide to go their separate ways rather then working together.

I left them at the end of the last session in their separate places with only their God’s for company, we are taking a few weeks off because of exams, and I said I would work on character development via email for the 2 weeks. But I am stumped, I left England on the brink of economic meltdown because of the Gods and the party still doesn’t seem to want to coalesce.”

Ask the GMs - Mike

Mike’s Answer:

Thanks for the kind words, Izzy. I’ve never come across a group so unwilling to work together except in one case where the players had conspired together because the GM was always foisting plot trains on them and never listened to their input, so I’ve never been in your exact situation. As a result, my advice will be fairly generic, I’m afraid, and at the moment is limited to a couple of thoughts:

1. They don’t seem to be feeling threatened by events personally, so they have no stake in mutual cooperation. Have bad things happen to all of them as a result of the problem that they are not confronting. The banker gets accused of misappropriating funds, the theatre critic gets fired from his job, the MI5 agent gets accused of being in the employ of a foreign power (and the socialite of being his contact) out to destabalise the currency, and so on. If they aren’t working to stop it, then they can easily be misperceived as part of the problem – so have some NPCs jump to conclusions about the ‘perty’ members.

2. They are obviously weaker as individuals than they would be as a group. Take advantage of this. Have them all arrested as accomplices to the murder, for example. Interrogate them individually, let the police suggest that another of them is cooperating and has given evidence against the rest – then let them compare notes in the cells (where they CAN’T go their separate ways). They can be released eventually, pending a hearing, if one of them puts up the bail for all. That gives one of them a vested interest in holding the group together as a party, but make it clear to the characters that they must all stick together or they will all be hung separately!

3. Have their Gods weigh in on the subject of cooperation, in their own styles of course. Remember the scene in Ghost with the singing of “I’m Henry The Eight I Am” 24 hours a day until the psychic gives in?

4. Let the bad things happen, then let the characters go hunting for a 13th-hour solution to the problem. Players and PCs should never be protected from their own stupidity. It may be metagaming, but they should have been looking for reasons to team up and coorperate in the first place.

5. Rework the scenario so that they can solve the problem piecemeal at first, each handling their own little piece of the puzzle.

Ask the Game Masters - Johnn

Johnn’s Answer:

Mike has provided some awesome in-game suggestions, so I’ll focus on the meta game angle with my reply.

6. Ask them out of character to cooperate. I’ve done this for my last 4 campaigns. When the players made their characters, one of the initial PC creation requirements was that the PCs all had a desire to work together.

This fends off typical alignment clashes, player grudges from previous campaigns, and gives players a parameter to get creative with. In my new campaign, for example, some PCs knew each other beforehand, some had common quests, but they decided the unifying element would be an inn they all owned.

It’s not too late for you to have a chat with your players and ask them directly that they give their PCs a reason to cooperate and join forces. Let your group decide what that is and whether it needs to be gamed out, or if it’s a background element that has just now come to the surface.

7. A divided party costs spotlight time. Make the cost of being split up known to your players. If everybody is always in their own exclusive scenes, then players will need to wait up to 5x as long (fill in your own number here where it equals # of players -1; 4 players = 3x, 5 players = 4x).

This is because each player will go their turn to do their actions, but no one is sharing the scene, so no one else can participate or even feel present. So it’s complete isolation.

8. Ask your players why they are not cooperating. The answer might surprsie you. Perhaps they are waiting for you to produce a heavy-handed plot-driven unifying moment. Or perhaps the players have created characters who do not cooperate, and they feel like they’re roleplaying their PCs perfectly. Could be your players think this is what the game is supposed to be like – the old board game mentality.

You won’t know until you ask. Do not superimpose your own thoughts while listening to their answers. This is difficult, but try to hear their answers objectively. You need to understand their viewpoints so you can get to the bottom of things. Making assumptions and leaping to conclusions, as we are all wont to do, will end up leaving the root of the problem undiscovered.

9. As Mike has suggested, change the structure of your game. Let everyone do their own thing as seperate citizens, but plan sessions to have big encounters that result in everyone rallying together. This is a Hollywood style campaign where the audience is treated to just the big moments in a couple hours.

10. Similar to point #6, ask players never to do anything alone in the game, if possible. This is a directive I’ve given in my current campaign. I want players to share scenes as much as possible.

In my game world though, it would be unusual, and sometimes tactically undersirable, to walk around as a large group. That’s just asking for trouble in Riddleport. So the PCs often pair off or go in groups of three, except for key actions where the entire group’s resources are needed.

In-game, this makes sense because the PCs are weak and will likely get assaulted or worse if caught out in the dangerous pirate city alone. My players are fine with this and try to comply wherever possible.

I hope all these suggestions help, Izzy. Please let us know how your campaign progresses.

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I’ve Been Framed


curse of the crimson pathfinder dice

Curse of the Crimson Throne Pathfinder dice

Q-Workshop sent me some lovely Pathfinder Curse of the Crimson Throne dice. These dice are beautiful and they made me think of politics, which then made me think about plots where an NPC or PC has been framed for a serious crime they did not commit along with clever use of spells as the punishment.

What better way to celebrate dice than with some random tables? So, please use the tables I’ve created below inspired by political machinations, one table for each type of die that comes in the Curse of the Crimson Throne set, to generate a political plot as follows:

In the [Type of State] of [State Name of Your Choice] ruled by a [Type of Government], a character must undergo a [Type of Trial]. He has been framed by [Power Behind the Throne], and if found guilty of [Type of Serious Crime], his punishment will be [Spell-Based Punishment].

I’ve Been Framed random generator thanks to dice generously donated by Q-Workshop

Type of State

Crimson Throne d12 Type of State
1 Archduchy
2 Barony
3 Diocese
4 Caliphate
5 Margraviate
6 County
7 Duchy
8 Emirate
9 Grand Duchy
10 Fief
11 March
12 Principality

Type of Government

Crimson Throne d20 Type of Government
1 Autocracy
2 Bureaucracy
3 Confederacy
4 Democracy
5 Dictatorship
6 Feudalist
7 Magocracy
8 Matriarchy
9 Military Dictatorship
10 Monarchy
11 Commonwealth
12 Oligarchy
13 Plutocracy
14 Republic
15 Syndicate
16 Theocracy
17 Demonarchy
18 Technocracy
19 Coalition
20 Totalitarian

Type of Trial

Crimson Throne d8 Type of Trial
1 Trial by combat – Fight to the death, winner is innocent
2 Trial by ordeal – A challenge that taxes the accused to their limits
3 Trial by jury – The accused must convince a group they are not guilty
4 Trial by council – Stand before authority, plead your case and be judged
5 Trial of wealth – Raise enough wealth by the deadline and you are innocent
6 Trial by judge – Stand before authority, plead your case and be judged
7 Trial by magic – Magical examinations are performed until a clear verdict can be rendered
8 Trial by question – Often it’s the questions, not the answers, that decide if you are guilty

Power Behind the Throne

Crimson Throne d4 Power Behind the Throne
1 A monster or group of monsters – mind flayers, a beholder, giants, a dragon
2 A cult or brotherhood – bound by a mission and code
3 A collusion of guilds – uses resource control for leverage
4 A magic item – sword, relic, wondrous item

Type of Serious Crime

Crimson Throne d6 Type of Serious Crime
1 Treason
2 Murder
3 Embezzlement
4 Spying
5 Counterfeiting
6 Terrorism

Spell-Based Punishments

Crimson Throne d10 Spell-Based Punishments
1 Bestow Curse. The prisoner loses 6 off his ability score. That is devastating, possibly cutting it in half or worse. Forcing them to become an imbecile is a good way to keep the person useful doing menial chores without needing high security. The GM can also craft their own Curse effect, such as 50% chance of lying down every six seconds – it’s hard to escape while taking a siesta.
2 Baleful Polymorph. The prisoner permanently changes into a small animal. One of my favourite D&D modules is Castle Amber. Wouldn’t it be a neat twist for the central garden to be the prison of several banished beings changed into the form of small animals? If the subjects fail their second saving throw, they even gain animal intelligence, in effect becoming just another creature in the garden.
3 Imprisonment spell. According to the spell description, the creature is entombed in a state of suspended animation in a small sphere far beneath the surface of the ground. Cast Freedom to release the prisoner. Imprisonment and Freedom indicate you can reach the prisoner, so presumably you can choose the prisoner’s location. This is a perfect setup for dungeon design – put the prisoner at the heart of it.
4 Resurrection. You just need a portion of the creature’s body to bring them back to life. So, kill the prisoner and bring them back when their sentence ends. There’s an expense of 10,000 gp, but a wealthy family might be given annual Resurrection privileges for an hour or so if they pay the bill.
5 Insanity. The imprisoned can only act normally 25% of the time, and their state of mind changes every six seconds with equal chances of babbling incoherently, hurting themselves or attacking someone else. Being imprisoned in your own skull is a harsh sentence.
6 Flesh to Stone. Perfect for filling an art gallery or museum. Under careful watch of security to prevent an ally from casting Stone to Flesh, prisoners can be put on display as an example to all, or kept in a private collection for the warden to gloat over or decorate as he sees fit.
7 Symbol of Death. Cast Permanency, place the symbol so its 60 foot radius crosses the only entrance. Cast Curse on the prisoner to lower their saving throw. This still gives the prisoner a chance at a saving throw, so you will want to target those with naturally poor Fortitude, and this is better as a deterrent than a cell because the desperate will take their unknown-but-poor chances of surviving, sometimes. Substitute other Symbols to create other defenses in the prison.
8 Wall of Force. The perfect barrier combined with Permanency assuming the other surfaces of the cell are secure. Put a curtain across when you get tired of watching the prisoner make rude gestures at you.
9 Trap the Soul. Put the prisoner into a gem. Break the gem when the sentence finishes. Note the gem must have a value based on how powerful the prisoner is, but the type and shape of the gem remains up to you. Perhaps those glowing red gems in the horned demon statue’s eyes have more than just good market value….
10 Feeblemind. The prisoner not only gets reduced to animal-level intelligence, he is also barely conscious.

(Thanks to Colin Walmsley for spell punishment ideas.)

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Lessons From The West Wing II: The Psychology Of Maps


This entry is part 6 of 9 in the series Lessons From The West Wing

Credit: Eurobas at en.wikipedia

It’s time for another of my occasional Lessons From The West Wing. This draws heavily on concepts put forward in a single episode, Episode 16 of Season 2, “Somebody’s Going To Emergency, Somebody’s Going To Jail”.

Some people have decried the episode as one of the weakest in the West Wing’s repetoir, others found it illuminating. As it happened, it was the first episode that I actually watched on free-to-air TV, and it hooked me pretty solidly.

The A-plot of the episode connected an act of infidelity with revelations of a Soviet Spy from the WWII era. That’s an OK plot but not brilliant. The B-plot involves world trade protestors, and that’s a lot more interesting in a lot of ways, and the summation of the principles of Oratory is also useful. But it was the C-plot that hooked me – a plot thread that doesn’t even rate a mention in the Official Companion to the series, much to my annoyance.

That C-plot revolves around a proposal by the “Organization of Cartographers For Social Equality” – a fictional organisation so far as I know – to replace the familiar Mercator-projection map with an inverted version of the Gall-Peters Projection Map – something like the one used to illustrate this article. You can find out more about this map at the Wikipedia Page and you can purchase copies of these and other unusual ways of viewing the world from ODT.

But while the map itself was fascinating, what really grabbed me were the arguements proposed for the impact of the traditional Mercator projection map on social attitudes.

Stretching A Globe to fit a square page

The problems with the Mercator Projection are shown by the illustration above, where three identical yellow rectangles are positioned, two at the top and one directly south of the first.

The second picture shows these rectangles arranged on the section of the globe indicated by the first picture, and the third shows the effects of Mercator Projection.

  • Errors Of Scale: The top-left rectangle appears much larger than the bottome left one, even though they are the same size.
  • Errors Of Location: The scale problem means that the distances between the two top rectangles are also exaggerated.
  • Errors Of Relative Position: And the distortion affects the aparrant relative position of the left-hand rectangles, as well. In fact, they don’t appear to be due south of each other any more!

Any map has one latitudinal line where the scales are perfect. Anything closer to the equator will be shrunken to fit, anything closer to the poles is stretched. There’s no way to accurately map a globe in every respect except with a scale model, ie a Globe.

Mercator Projection was first produced in 1569 works by maintaining straight lines of constant bearing for longitude and latitude at regular spacings. This makes the map especially useful for Ocean Navigation, the purpose for which it was designed. For just about any other purpose, it is deceptive.

Germany appears in the middle of the map – the central point chosen by Mercator (who was German) – when in fact it’s in the Northernmost quarter. The Zero-error line chosen by Mercator runs right through Germany, in other words, and stretches Europe to fill the top half of the map, while shrinking the Southern Hemisphere. So Mercator’s projection doesn’t just distort horizontally, it also distorts vertical size.

The Peters projection works by preserving the true relative sizes of the continents. That makes it useless for navigation purposes, as it has to distort the map in a different way to achieve this, and consequently a “straight line course” from point A to point B would actually be shown as a curve on the map – but in many other ways, it’s an improvement, at least according to the proposal aired on The West Wing.

Size Equals Importance

…at least in the mind of the beholder. Or so runs the arguement from the West Wing, at least, which argues that the distortions of the Mercator Map play on that subconscious association to distort social perceptions of the non-European nations. The specific examples cited are:

  • Greenland appears to be the same size as Africa, and Greenland is not very important, so people think of Africa as also not very important. Africa is actually 14 times the size of Greenland.
  • Europe is shown on the Mercator Map as being considerably larger than South America, when the latter is almost double the size of the former. Consequently, according to the theory, South America is diminished in importance.
  • Alaska appears three times the size of Mexico, but Mexixo is actually a fraction (100,000 square miles) bigger. So Mexico is percieved as having the importance of a single US State.

Of course there are many more, but that’s enough to go by.

It was while pondering this that I started to think about the way most GMs produce Maps.

Maps In RPGs

More to the point, we don’t do them in the ways that were common in the Middle Ages, even for our Fantasy campaigns. Instead, we go for satellite photo land-use style area maps, similar to those we would encounter in a modern atlas, simply because we havn’t thought about it.

Why do it that way? Surely the “as the crow flies” distance and absolute position of locations is not the most important thing about them?

For Fumanor, the maps that I created when setting up my original campaign are NOT topographically perfect. Instead of using an absolute distance as my guideline for drawing the maps, I used a relative travel time. I also deliberately enlarged areas that were supposedly important and shrunk areas that were not considered important.

Click on the image for a larger version

The PCs have never figured this out.

Whenever a map comes up in the game – like the one above – they have assumed that it was an “accurate” map, and that the hexes referred to a fixed distance. They even calculated that distance as 50 miles per small hex, and had me mark that on the maps as I produced them within the game.

In fact, each small hex represents Two Days’ March, or one day’s Forced March. Or, roughly a week of casual travel, or travel by wagon. A horse can cover two hexes in a day – but after a week of this, the horse will be exhausted and need a week’s rest. If you change horses regularly, you can fly across the map.

The Elvish Forest is shown to be roughly the same size as the Orcish Domain to the Northeast and the Trollheim to the Southeast – in fact, the Elves home is about 1/4 the size, end to end, or about 1/16th the area, of these two domains.

Terrain plays a big factor. The mountains on the left look huge – but they aren’t, it’s just that it takes a considerable amount of time, even following the trails that exist, to cross them. They aren’t 1500 miles across – they are barely 150 miles across – but they have been distorted in size because the terrain makes them slow going.

Once you already have a map, it’s hard to convert it to work in this way. The secret is to draw it like you would any other map, and then assume that what it is showing is the relative positions and distances and not the true positions.

A step farther

But why not go a step farther? Make marks on a map to show the relative size or importance of a town or city, as usual – but have them equally spaced apart, with a straight line for any roads or other means of transport, and – if you have to – you can show a travel time in days next to the line.

This is a far more compact and abstract map – but one that can be extremely useful. Here’s a small example:

This shows a small Kingdom with sea to the East, wastelands to the northeast, swamp to the south, and a ring of impenetrable mountains to the north and west. There’s also a forest, roads, rivers, and towns – assume that a real map of this type would show town names, as well. I could also have drawn dark heavy outlines around areas that are fortified, or not done so if I preferred. But that’s all – there’s virtually nothing about the terrain, the distances, the sights, the climate – which means that whatever needs to be dropped in, can be. The result is highly abstract and purely functional.

You can even develop such a map as a “strip” as the party travel – you indicate each road that they don’t follow, and where it goes, and anything of interest that they find along the way. Use a scale of half a cm or 1/4 of an inch for each day’s travel. This then forms the backbone for future explorations by the characters – they can branch off at any point to follow a new path. The result is something like the transport maps that became popular a few years back, like the example above (which shows the Madrid rail system).

Top And Bottom

Another arguement made in the course of the West Wing – which fell on rather less friendly ears – was that people subconsciously impose a superior capability to countries that appear on the top of a map. This arguement, if it held water, would indicate that Canada is percieved as more powerful and globally significant than the US, that Finland is seen as more important than France, which in turn is seen as more important than Spain – it doesn’t wash.

Nevetheless, it’s a fact that the most powerful nations, with a history of contributing to global civilization, generally lie in the Northern Hemisphere, while much of the third world does not.

So perhaps there is something too this, but it is easily overridden when we know better from other sources of information.

What, then, is the result if we – or more specifically, the PCs – don’t know any better? No matter how much you’ve heard about a place, it’s mever real until you go there and see it first hand. Until the characters interact with it, all a new country is to them is a splodge of colour om a map. Under such circumstances, it’s entirely possible that these ‘impressions of importance’ actually occur. In which case, GMs can deliberately play to the stereotype, or choose to invert it.

Or you can choose to avoid the question altogether by changing the directions of the map. Again, this is something that I chose to do in Fumanor, where the principle direction that orients the top of all maps is “Sunrise” and it’s opposite is “Sunset”. If you face the Sunset, then “Dexter” is to your right, while “Sinister” (named because that’s where all the trouble seems to come from) is to your left. The world has no compass or equivalent; those directions are all that they’ve got.

Even the fact that it gets hotter as one travels to the Dexter and colder towards the Sinister is explained by the fact that there are Deserts in the former direction, and tall, snow-capped mountain ranges in the latter.

In this environment, it’s not that stars move across the night sky; it’s more important that they rise and set.

So exercise a little thought in advance and look for an alternative to the obvious North-South arrangement, and you will alter your characters’ thinking.

Like Neighbourhoods

Another assumption that a lot of people make is that one country will tend to be very much like their neighbours – that the climate will be similar, and the behaviour of the people will be similar, and so on. People have a tendancy to generalise by region.

This is a fact that GMs can take advantage of, with a little thought. Putting two nations that are socially and superficially very similar can be a great way of disguising the key differences until they catch the PCs off-guard. Placing two nations far apart that are superficially very different, but are very similar when you get down to the bottom line, is another technique that can be useful.

There are, of course, good reasons why the similarity between neighbours is often a fairly reasonable assumption. Not only would they be likely to experience similar climates, as already noted, but what affects one (eg an invasion by a third, or a shortage of some particular raw material) will probably also affect the other. They are likely to trade with each other, which is a great way of subtly signposting the differences, but that brings with it an exchange of ideas and techniques that makes one seem to resemble the other more closely. They may originally have been a single nation, giving them a shared heritage, common language, and so on.

I don’t tend to think too deeply about this when designing worlds for my games, and it’s something that I think I should pay closer attention to.

Maps reflect the thinking of their makers

In the middle ages, many European maps placed the religious centre of their ‘world’ in the centre of the map. In some cases, that was Constantinople, in others it was Rome, and so on. The farther away from the centre of authority the map went, the ‘fuzzier’ it was likely to be in terms of accuracy and detail. Some mapmakers went so far as to flesh out these extremely distant regions with dogma and superstition.

Maps that were wildly inaccurate have a tendancy not to be easy to track down in modern times; we tend to ignore them, they aren’t readily accessable over the internet, and so on. There were maps that tried to reconcile Columbus’ discovery of The New World with his mistaken belief that this was a distant region of India, for example, but these are hard to find referances to.

Whenever you produce a map for the players to digest, always take a moment to consider the question of who supposedly drew the map, what mistakes did they make, and what dogam and superstition did they incorporate?

A lot of people draw their maps early in the world-building process, and use the geography to guide them in the writing of their campaign history, the defining of national boundaries, and so on. This approach certainly makes it quicker and easier to do so, but these development maps should get thrown away afterwards and fresh maps created from the descriptions and history that you have compiled. These should make no attempt to be accurate to the development maps, but should instead be accurate exclusively to the history – and the GM should have no qualms while creating that history about ignoring any inconvenient “realities” on the development maps.

Maps affect the thinking of the viewers

The final point to be made is this: what’s shown on a map has a big effect on the thinking of those who view it. They help define the relationships between nations, the geographic boundaries that divide and the geographic connections that unite.

I once came up with an idea for a campaign that I never got to play (and I’ve long since thrown away the notes, so I can’t post it – or I would). A central element of the campaign was a continent-wide conspiracy, and the first manifestation of that conspiracy was going to be the existance in each nation of that continent a small town named Jel’tvech (some spelling variations – Jelveck, Chelech, etc). These words would all mean different things within the dominant language of the nation in which they were located, often things that would not naturally occur to people as inspriration for a town name. I can only remember a couple of the literal translations now – there was “City of Shadows”, “Passionblood”, “Usurper’s Refuge”, “Crown of Eggs”… about two dozen, in all. These were all that remained of the mythic tale of the founding of the kingdoms, when they were all provinces of an Empire ruled by Lovecraftian Horrors, and of the overthrow and exile of those Horrors. But now, they were coming back…

The map that I had created – a sheet of A4 paper with a coastline in blue pen, some forests in Green, some cities in red, some mountains in black, and some political boundaries in pencil – wasn’t just a map of the area, it was to be a map of the entire campaign, of the plotlines and narrative that were going to unite the adventures of the PCs into a single structure – in other words, it was a map of the metaplot.

I never finished it; the map and notes got set aside because I saw no prospect at the time of ever using them in play (I had no D&D players at the time) and later, they were ruined when an accidentally-left-open window let the rain in.

But the general principle remains. When you draw a map, think about the residents of each city and nation that you place on it, and ask yourself how they would percieve their place in the world according to the map you have drawn?

Which reminds me of another undeveloped idea that’s relevant. Once each PC had chosen which nation of several that they were going to derive from, I was going to draw maps for them of their homelands using vector art software, then subtly change each. No one player’s map would show the political boundaries in exactly the same places; some of them would have dates that indicated that they were out-of-date, others would reflect disputed borders, and still others would be drawn by foreigners who got some of the details wrong for whatever reason. This was to be a way of bringing the background of the proposed campaign into the lives of each of the PCs in a different way. I would then generate an adventure based around each of the differences, which would establish the camapign in a way that was interactive for the players. Again, this was an idea that I never got around to developing because I would never have had the time to run it.

A map is more than a representation of the geography of an area. Take advantage of that fact.

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Action Trumps Description


Action trumps descriptionWise words for game masters. Authors are advised to always show, never tell. So too it is with gameplay, where more fun comes from playing things out than listening to a GM drone on.

Next time you are about to start a monologue, stop and put the game back in player hands. Do this by setting a scene and giving them a choice or asking what actions the character take.

Parley offers a great alternative. Want to tell your group the history of the world? Unless players need this information right now, plan instead a series of encounters with sages, historians, old elves, libraries, treasure books, gossip and rumors to get across over time the key people, places and things in a history. Provide contradictory information to make things even more interesting.

In conflict with this advice, you need a minimum of description to play the game. Combat results, encounter introductions, and actions of NPCs all need describing. That is why the title of this post says action *trumps* description – it does not completely replace it.

Use this advice to change your mental stance during the game. Whenever you are about to describe something, ask instead how you can stir action to get your key messages across. Look for ways to trim description a little bit and replace it with something interactive.

Another takeaway hidden in this tip is to make descriptions shorter, even if there is no action to replace the dropped parts. Practice making every word count. Instead of a one minute summary of an overland trip, shorten it to a single sentence of highlights. If players ask for more detail, that is great as it shows they are engaged.

When players do ask questions that require descriptive responses from you, try giving them answers that match the generality of the question. Get specific (where the good details always are) if the players ask for specifics. You are not trying to screw your group over here, like it was a wish spell or legal contract. Instead, you are rewarding them for paying attention, imagining the scene, and seeing the game through characters’ eyes. You are also giving them an opportunity to jump in and interact by thinking up what questions to ask.

For example, “What does the NPC look like?” should garner a response along the lines of, “he appears to be a warrior and not too happy seeing you.” Nice and short without missing something important that would change the group’s approach to the encounter.

If players respond with, “What weapons and armour does he have?” or “Do we see scars or signs of battles on his equipment?” you can give them those specific details.

You are still providing description, but it becomes an interactive process. It gives players options and decisions to make. It requires more involvement than just receiving information passively from the GM.

So, as you plan and run games, look for every opportunity to facilitate action where you would otherwise just provide static description.

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A Monkey Wrench In The Deus-Ex-Machina: Limiting Divine Power


This article deals in subjects that are sensitive issues to a lot of people. Everything contained within is written from a roleplaying context and no judgements are intended regarding the validity of any individual perspective on theology or on any social issues that may be referred to; no offence is intended. It’s just a game, people.

Deus-Ex-Machina is a term describing the sudden appearance of an unexpected way out of a difficult situation – literally, Divine Intervention. The term is latin in origin, but actually derives from Greek Drama in which a God would appear from off-stage to resolve the plot. In game terminance, it generally refers to an NPC appearing from nowhere to solve the problem and save the PCs bacon.

I chose the title for this week’s article very carefully. I’m not going to spend a lot of time going into the many reasons why Deus-Ex-Machinas are bad for a campaign; suffice it to say that they are damaging to a campaign in all manner of ways, from harming the plausibility of the campaign to minimising the significance of the PCs, and that this damage persists long after the actual event is history, slowly poisoning the campaign. Any reader who is not convinced as to this statement being true need only look at the list of “other benefits” that conclude this article and consider the alternative.

It follows that any monkey wrench thrown into the apparatus of divine meddling is a good thing. The more Impotent any Omnipotence can be rendered, the more protected from the use and abuse of such authority the campaign is.

As a general rule of thumb, there are only two real ways of limiting Divine Omnipotence: Keeping the Gods at arm’s length, or restricting the power that they can wield.

The first keeps the Gods as an abstract presence that cannot interact with the campaign and never could; this works, but only by sacrificing some of the flavour of the fantastic within the campaign. There are times and campaigns when that is appropriate and the best choice; in general, the more gritty and realistic the setting, the more appropriate this option becomes. This is the better choice for Pulp campaigns, Cyberpunk campaigns, hard sci-fi campaigns, most wild-west campaigns, superspy campaigns, and even low-level superhero and fantasy campaigns.

This is not an appropriate choice for campaigns in which that flavour of the fantastic is to be a central element; the price is too high. Most Fantasy Campaigns, High-power Superhero Campaigns, Horror Campaigns, even the occasional wild-west campaign or superspy campaigns can’t keep the Gods at arm’s length, and that means restricting the power that they can wield becomes necessary to avoid the damage caused by those pesky Deus-Ex-Machinas (pedantic side-note: technically, the plural is Dei-Ex-Machina. Observe it closely if you’re fussy because it’s the last time I’ll be using it).

Can’t think of a wild west campaign or superspy campaign where up-close-and-personal divine manisfestations would be appropriate? Here are three suggestions, plus a Hard-SF/Cyberpunk one, for your consideration:

Wild West Genre: a campaign in which the Native American Gods are real and active in opposing the invasion by white men. In a left-wing/humanist version, the PCs would be Indians, and the Gods would be good. In a right-wing/funadamentalist christian vesion, the ‘Gods’ might be devils and demons sent to lead the Indians astray, and the PCs would play White Men. In a balanced and more interesting version (from my perspective), both would be right from their point of view – the missionaries and educated white men would be doing what they think is the right thing, and the Indians and their Gods would also be right from their point of view, and there would be room for the whole panoply of human flaws on both sides, and no easy answers.

Superspies Genre I: Those notions lead naturally to the first Superspy Genre idea: The PCs come from a “Divine” Intelligence agency like Opus Dei and are constantly engaged in a battle with spies and intelligence agents of a Demonic bent.

Superspies Genre II: You could also have a less theologically-insensitive version by doing a superspies subgenre within a typical fantasy campaign setting. In such a campaign, you can either use a Fantasy Genre set of rules like D&D and provide house rules for the ‘superspies’ componant, or use a Spy Genre set of rules like Top Secret, and house-rule fantasy rules into the mix. The latter subordinates the campaign style to the genre, the latter subordinates the game setting to the intended campaign style but would be more work to set up.

Hard-SF/Cyberpunk Genres: A great way to bring virtual reality “to life” in a campaign is to run it as an independant game setting, possibly even with a completely different set of game rules. Integrating them can be tricky, but if you can manage that, it really does make simulated reality feel different. In this context, Gods would be SysOps and Hackers.

Okay, so assuming that you are on-board with the need to restrict Divine Power, lets get to the meat of this article: practical methods of doing so.

Limited Knowledge

You can only meddle in a situation if you know it’s happening. An extremely effective means of limiting Divine Omnipotence in your games is to restrict the Gods’ knowledge of events.

No Omniscience

If the Gods know no more than they see with their own two eyes, and any activities they otherwise involve themselves in, the problem of Omniscience is definitlly solved. Effectively, this reduces the Gods to nothing more than powerful mortals. But this is a fairly extreme solution, and might not always be the most appropriate for a campaign as a result.

One use I have for the Gods in my fantasy is to make narration interactive with the Players. They give me an avenue for bringing aspects of a situation to the PCs attention that they appear to have neglected to consider and providing a broader perspective to events in the game – usually after the fact, but sometimes I’ll use them to impose additional difficulties to a situation that would otherwise be too simply resolved. Instead of me preaching to or lecturing the players, this moves the interaction to a character-level mode, which is inherantly more interesting to them because they get to roleplay it.

A complete absence of Omniscience severely curtails the viability of this Divine Meta-game Function, so this is too extreme a solution for most of my campaigns.

Limited Omniscience

So, if Omniscience is to be present, but limited, it then becomes necessary to define one or more restrictions placed apon it. In reality, even in games where the Gods are considered Omniscient, there is usually at least one limitation placed on them: they don’t know what the “opposition” are doing.

The balance of this section of the article will examine ways of restricting Omniscience to managable limits.

Can’t Be Everywhere

The most basic restriction – the Gods can be anywhere, see anything – but only one thing, and one place, at a time. This is only a slightly broader solution than the total lack of Omniscience, but it works; it is essentially the omniscience restriction imposed on Sauron in The Lord Of The Rings, though that also implies that there are areas into which the Eye cannot see. Thus, while Sauron could monitor the comings and goings from Rivendell or Lothlorien, he could not ‘listen in’ on (or lipread) the discussion at the Council Of Elrond.

The Eyes Of The Faithful

Perhaps the Gods can only “see” through the eyes of the Faithful. Of course, they have millennia of experience apon which to draw in interpreting what they have seen, and they would automatically integrate this knowledge into a “bigger picture” perspective. They would, logically, also be restricted by their Intelligence in their ability to deduce implications and forecast consequences. This restriction means that the Gods are as capable of surprise as Mortals, and offers one solution to the question of why Gods need followers at all.

Shortsightedness

Perhaps the Gods can only see into the here-and-now, and are incapable of looking into the future or past. That forces them to make judgements based on the immediate problem, and let tomorrow’s problems be tomorrow’s tasks.

This invalidates or renders dubious some of the standard spells in D&D. A less constrictive version of this moderates the clarity of past and present perception – the farther away from the here-and-now, the greater the fog of uncertainty. Although it never came out in the course of play, this was one of the restrictions I placed on the Gods in my Rings Of Time campaign.

Actually, in that campaign, I went one step further, and permitted the Gods to have greater levels of perception when it came to their own domains – so the Goddess Of Life could see a birth many years after the fact, but could not see the intervening maturation of the individual, unless she had ‘looked in’ on that person from time to time along the way. And there is only so much time available for doing that – at one person a second, if a God does nothing else, they can monitor 86,400 people, less if they have to sleep, much less if they want to actually DO something in the course of the day. At a minute per person, the total drops to 1,440 – again, less if they have to sleep.

This restriction can be TOO confining; if that’s the case, consider permitting the God to have a restricted number of Avatars, but permitting each Avatar to act independantly, so that the God can do multiple things at the same time (within limits). But that opens a whole can of worms – what’s to stop multiple Avatars from forming a “Hit Squad” to achieve some end? Well, perhaps there can only be one present at any given place at once – but that then raises the questions of “how close is too close?” and “what happens if one gets too close to another?”.

Divine Fallability

One limitation that is really overdue for discussion in this article is the notion of Divine Fallability. This can come in either of two forms:

  • The Gods cannot act effectively until it becomes impossible for them to make a mistake, relying on mortals to create the opportunity for them to act; hence, they are impotent do-nothings most of the time, occasionally emerging as glory-grabbing over-the-top scene stealers, certain to provoke resentment in all but their Devoted Faithful. Grim and Dark, a campaign moulded on this premise might be entertaining for a while but might not have a lot of longevity – but would definitely appeal to some subcultures within the ranks of gamers.
  • The Gods are fallable and can make mistakes – errors of judgement, of interpretation, of execution. A cynic might add that they have become adept at Spinning these failures to retain the trust of the Faithful, though I prefer a more honest approach in which they reveal the truth to selected followers and servants.

If the gods never/rarely act because they are afraid of the consequences of error, they are effectively restricted, no matter how omnipotent they might be. The less Omnipotent they are made in the GM’s campaign, the more active – and interactive – they have scope to become. That’s an important general principle for GMs to bear in mind when creating their campaigns.

Omniscient Hindsight

Another approach that can be taken to the restriction of Omniscience is the granting of Omniscient Hindsight to the Gods. This alternative is the ultimate distillation of the concept of Divine Narration that I described earlier.

It becomes even more interesting if the Gods are completely incapable of forecasting the future at all – they then become completely dependant on mortals, who prognosticate all the time. Of course, give two different people the same set of circumstances and let them make their own assumptions, and you will usually get two entirely different forecasts, and two entirely different plans of action stemming from those forecasts. The more obvious a future circumstance is, the more the Gods can act regarding it – but most of those obvious forecasts relate to relatively trivial matters.

The more diverse the opinions, even if the Gods can choose apon which they act, the more likely they are to restrict how they react. This concept really subordinates the Gods to Mortals, and hence to the PCs; they become akin to a hair-trigger pit bull, who can be unleashed on command but usually shouldn’t be, a trump card that can be dangerous if misplayed – a six-year-old with his fingers on the Nuclear Trigger. A campaign modelled on this concept would quickly evolve into a narrative on power weilded clumsily, with characters continually scrambling to limit the unwanted consequences of the last meddling by the Gods. While this might be amusing, even diverting, for a time, I suspect that it would grow frustrating and then annoying after a while.

Alternatively, it might be that the Gods simply become more hesitant and diffident with increasing uncertainty. This avoids all the hair-trigger calamities of the previous paragraph, but it means that the more critical the situation, the more the Gods will leave it to mortals (read: the PCs) to resolve. I’ve never used this particular solution, but it holds a lot of obvious appeal; the Gods can intervene to fix a broken bootlace or resolve any other trivial inconvenience, but the whole point of empowering mortals is so that they can deal with the important decisions – and their consequences.

Limited Power

The last section has drifted the discussion from restrictions of omniscience to restrictions of Omnipotence, so let’s continue down that path.

Where do the Gods get their power?

Way back in December 2008 I posted an article dealing with the value of asking Big Questions in RPGs, prompted by the fact that I had been ruminating on the question “What is the Soul?” for one of my campaigns – you can read that article here: A Quality Of Spirit. This is an article that I have often referred readers to in subsequent posts, because these metaphysical questions frame the objective reality within a campaign, and hence the subjective experience of players participating in that campaign.

So here we have another of those Big Questions, and the answers will have a substantial impact on the campaign. There are, in essence, four different answers.

Sources Of Divine Power: The Faith Of The Living

I’ll address this one first, because it’s one that Johnn touched on in his comments for the “Big Questions” article.

If souls are the currency of the Gods, the Gods are empowered by Faith. There are two variations on this concept: one in which it is the Faith of the living that grants Divine power, and one in which it is the faith of the Dead that grants Divine Power.

The first is hardly a new concept: I first heard it expressed in the early 80s by Mike Welles, a sometimes-GM and frequent player in D&D games, and who was a player in my first D&D campaigns and one of the founding players of my Superhero campaign. His point at the time was that this explained why Missionaries and Conversions from one faith to another mattered, and why Heresies were so despised – a Heretic is denying the God the Power. From this perspective, the only reason the Gods grant Clerics power is to enable them to protect the existing followers of that God and to persuade new Converts.

A simple one-to-one relationship between the number of living worshippers and the number of XP that the god posesses is possible: one Faithful = 1 xp. This defines immediatly what power level a deity can access – and makes certain deities extremely powerful. Goblin Hordes equal great power for the Goblin Deity – and there is a certain intellectual and perverse pleasure in such an inversion of the usual power heirarchy within an RPG.

Another variation on this concept that is more faithful to the standard structure is to key the relationship to the Wisdom of the Followers – which explains why the Wisest characters get tapped to be clerics and priests and paladins; in effect, the god is bribing them with power to remain loyal.

And a third postulates a new characteristic, Fanaticism – capped at 40-minus-INT or something like that – to which this relationship is keyed. This works especially well for Moorcock-styled campaigns in which cults worshipping Mad Gods empower those Gods sufficiently to compensate for the greater numbers of more moderate Faithful of the mainstream, while still retaining the connection between the Elite Faithful and the Gods that empower them.

Ultimately, these are all Generator analagies – the Faithful acting as Generators of Divine Power that can be tapped by the God.

Sources Of Divine Power: The Faith Of The Dead and Dying

The alternative is for Souls to be, more literally, the currency of the Gods. At the moment of death, a God claims the power of a specific soul based on the fidelity of worship of the mortal at the moment of death.

I’ve heard this proposal used to explain the power of Necromancy in games, and a measure of the power that a soul generates under this paradygm is the power of Liches and Vampires (okay, so the latter have been reportedly wussified in 4e, but you get the idea). When lesser undead are created, part of the power goes into reviving the dead, but most of it can be drawn off and used by the creating agency – and all of it is (effectively) being stolen from the God who should have recieved it.

Adopting a chemical battery analogy yields this solution, which is also frequently combined with the first Faith-as-power proposal. Another couple of GMs of my acquantance, in another of the bull sessions that don’t seem to happen as frequently these days (possibly because it takes a lot longer to write something than it does to toss an idea out verbally), mooted that interesting consequences result if the souls are actually consumed by the process. This actually draws apon Ancient Egyptian theology, which divides the Soul up into multiple parts – one of which goes on to the afterlife, and others which do not (and which can therefore be used for other purposes).

I’ve employed this specific solution in my Shards Of Divinity campaign; in order to utilise their powers, the Gods have to consume some of their stockpiles of power, and if they don’t have enough, they have to kill off some more of their worshippers to make up the shortfall. (I also use an attenuated version of the Faith Of The Living power source). But that’s an Evil campaign, the concept doesn’t work so well in normal campaigns.

Sources Of Divine Power: Prayer & Sacrifice

This can actually be considered an indirect version of the first set of Faith-of-the-living solutions offered above. Each Prayer, Sacrifice, or other appropriate Act of devotion empowers the God in some manner. The God then repays some of these by granting the prayers, to keep the power coming – the chance of which is obviously enhanced by devotions that are at least proportionate to the request.

This brings up new questions for consideration – can this power be stored, or must it be used immediately or lost? If it can be stored, can this be done at 100% efficiency – or is there a loss? What can the power be stored in? Can stored power be used by others? Can it be stolen? As it has a Spiritual context, can it be contaminated or twisted? What happens if it is?

The answers to these questions will affect the behaviour of the Gods, the behaviour they demand of their worshippers, and hence the nature of theology-related adventures that the PCs have.

Sources Of Divine Power: Internal

The next most obvious source of Divine Power is that the Gods generate it themselves – they can do whatever they want with it once they have done so, but are limited by the fact that consumption is faster than generation. A God can do a lot of little things, or can store up his powers for big flashy shows, or can adopt a middle course.

This model assumes that the God is somehow still tied to his worshippers, still dependant on them in some respect, and hence has to occasionally do something to keep them faithful. The form of this link then becomes a vital element in the relationship between Flock and Faith.

While there are a number of possible answers to this need, the best I’ve found is that the God stores his internally-generated power within the faithful by the process of their worship, and also within the structures and artifacts of the faith. He can generate it internally, but can’t store it up himself – he needs his worshippers for that.

While there is no need to do so, it is possible to extrapolate on this premise to make a campaign built on this concept more unique by speculating on what being so “charged up” does for a character – or what having the charge consumed by the deity does, depending apon which state is considered the “baseline” described by the character sheet. The first confers some extra ability or advantage on almost everyone some of the time, the latter imposes some extra penalty at times.

As a GM who strives to keep his games balanced, the latter holds greater appeal to me, but I suspect that it would cause problems with players unless clearly explained in advance to them (and possibly even then). The latter, on the other hand, can be managed by altering the duration described by the phrase “some of the time”. But you may have more tolerant players.

Sources Of Divine Power: External

The final source of Divine Power, logically, is something else external to the God. Frankly, this alternative combines many of the worst aspects of several of the above alternatives; it doesn’t connect the Gods with their Worshippers, it doesn’t explain any particular aspect of the campaign universe like Clericism or Necromancy, it leaves the Power of the Gods restricted in some fairly inchoate and abstract ways instead of offering menaingful limits… it’s not my preferred answer. (It works great for Mages, though).

Nevertheless, it’s a viable answer to the need to restrict Omnipotence, which is the primary objective; every shortcoming listed in the previous paragraph is just the absence of an ‘extra’ that comes free with the other solutions.

An Alternative: The Limited Conveyance Of Power

So far, the alternatives considered have all been direct limits on the amount of power available to the Gods, simply because that bears the most direct relationship to the capabilitied that we wish to restrict. But that is not the only constraining mechanism that can be used to achieve our goals, so -having disposed of the obvious – it is now time to turn our attention to more esoteric constraints.

If divine power all stems from a single external source, perhaps an electrical metaphor is inappropriate. A better analagy might be that of a hose of fixed volume and current; the more this is divided up amongst a number of gods, the less power each has, but if there are too few, the hose experiences excessive pressure, triggering a ‘relief valve’ that elevates someone else to divine power levels – as depicted in the illustration.

This concept produces a generational model amongst the Gods in which they are constantly fighting amongst themselves for a greater share of the available power, diminishing their numbers, while new gods periodically arise to challenge the old. If there are too many Gods – if someone persuades the current generation to ‘give peace a chance’ – individual Gods will be too weak to overcome their enemies. Picture the Greaco-Roman gods with anger management issues (okay, with more extreme anger-management issues) and you will get the idea. Actually, in many ways, this model is also appropriate for the Ancient Egyptian mythos, where alliances are temporary and (in general) it was every God for him- or herself.

This is a restriction on the dispersal of Divine Power, and it would probably be paralelled by a similar restriction in terms of the number of Clerics each deity could or would maintain. You could have a lot of relatively low power priests etc – with a few specimens getting additional boosts – or you could have a relatively small number of very high-powered priests. A single temple can be harder to take down, under this model, than a hundred temples scattered here and there – so Dark Gods might linger in hiding until long after their temples are thought destroyed, only to resurface once again to trouble more mainstream society.

As you can see, this model is rife with adventure possibilities.

An Alternative – A Long Long Way From Home

But this is not the only alternative, either. Perhaps Divine power is more like AM-band Radio Transmission; the gods have powered amplifiers, and are able to pick up at least some signal most of the time, while their followers are like crystal radio sets, able to pick up the transmission only when conditions are exactly right – unless the Gods re-broadcast the signal.

Just as there are a whole range of phenomena that can interrupt, distort, or interfere with such radio signals, so there would be phenomena that would block the Gods and their followers from receiving the ‘power’ being ‘broadcast’.

This model introduces an uncertainty into the Divine Equation – the Gods can never be sure of exactly how much power they are going to have. A smart deity will stack the odds in their favour by recruiting self-powered mortal backups.

I havn’t devoted much thought to this model, but it shows some interesting potential.

The Divine Vessel Overflowing

Some of the earlier proposals yielded a result in which Divine Power rose with the number of active Worshippers. In some respects, that seems like getting two benefits for the price of one, so (some years ago) I set out to envisage a form of divine limitation in which the opposite was true.

What I came up with looked something like this: The more followers a Deity has, the more of his power is consumed by attending to the needs of those worshippers. Instead of a limit on just the one element of the theological relationship, power is distributed amongst the faithful, enabling the Deity to be in many places at the same time – in severely attenuated form. Thus, you can have a deity who can’t do very much (and hence tends to lose worshippers to brasher and flashier gods) or one with few adherants who can do truly spectacular party-tricks (who tends to attract new worshippers every time they do so). Cosmic power thus tends to oscillate about a mean value:

The priests are continually seeking to cultivate and attract new worshippers for their own temporal power and security, but if they are too successful, the Deity lacks the power to protect the population in what is a dangerous world.

The logical development of these circumstances is for many deities to gather into a pantheon, which shares the Worshippers amongst all the participants. The more broadly-based the pantheon, the more followers they attract, but any excess can be passed from one deity to another like a game of pass the parcel. When combined with the jurisdictional portfolio concept, which is common to pantheons, and with events that affect their worshippers, this has some interesting ramifications.

A God of War has plenty of power to start a conflict, but once one does, many worshippers flock to his banner, leaving him relatively powerless. Only when the populace tires of war, and begin praying for peace, does he gain sufficient power to be able to bring about the crushing victories by one side or the other that resolve the conflict. He is the God Of War because he starts and ends wars – but is relatively helpless to alter the course of events in between, which falls to other deities – luck, agriculture, crafts, knowledge, etc.

A Goddess of the Harvest has the least power to intervene when the climate turns harsh, and everyone is praying for relief – and the most power in times of plenty.

In comparison to normal theological structures, the tail is wagging the dog, and the concept takes a little getting used to before it can be used instinctively; but, by limiting the power of the Gods when that power is most in demand, this construct fulfills the brief – while leaving the Gods powerful enough to stir up mischief the rest of the time.

Limits through Anthropomorphis

A completely different solution to the need to limit Omnipotence is to distinguish between the conceptual existance of the God and the metaphysical manifestations of the Deity. This approach works well with the “Can’t Be Everywhere” limitation to Omniscience. The principle is that the God himself is omnipotent, but can only manifest that power through avatars, who are inherantly less-powerful than the real thing. The more avatars that the god manifests, the less powerful each individual example becomes. The effective power level of any individual deity thus becomes a compromise between ubiquitousness and utility, and an expression of the divine personality.

This has direct effects on the independance of the Organisations of worshippers. The less direct supervision the Deity gives to his Worshippers, the more capable they are of independant action in his name, and the more powerful his avatars are when he puts in a rare personal appearance. This opens the door to secular ambition and corruption, and the occasional purge of the impure when they go too far. The more he keeps his ‘message’ pure, the less power he has to do anything else with, and the more reliant on his mortal Worshippers he becomes to do his work.

Manifestations Of A Primal Principle

Most deities in an RPG represent some portfolio, a primal principle of some kind – “God Of Storms”, “God Of The Sun”, and so on, and are considered to have limited powers outside of that jurisdiction. One reasonably effective way of limiting Omnipotence is to take this concept a step further and have the Gods become completely helpless – mere mortals in effect – outside of their jurisdiction. “I can’t break down that door, I’m just a Storm God. I can level the entire castle with a hurricane, if that would help” – but this is a rescue mission, and in any event, a hurricane would cause collatoral damage, and impede the PCs just as much as the door.

Constraining the ideological power of the Gods in this way makes them utterly dependant on those more rounded, more flexible and adaptable, mortal servants.

Divine Mortality

One of the big questions to be posed concerning the Gods is the matter of Immortality. Throughout history, very few civilizations have percieved the Gods as being truly immortal, though most give them a limited form of that characteristic. The Norse gods certainly weren’t immortal, for example.

For game purposes, Immortality is generally a bad thing because it permits the Gods to be unaffected by whatever is going on. Making them mortal – even if it is only to another deity – gives a personal stake to whatever is going on, and gives a reason for them to hesitate, equivate, and risk mortals instead of themselves.

But this raises other questions, as explained in the Blog post that I referred to earlier (A Quality Of Spirit) – such as, what happens when a God dies? Their domain goes untended? Their clerics lose their power? Can another God fill in? Can a God be ressurrected? Even if one can’t, would that stop mortals from trying anyway?

There are all sorts of possibilities, each of which can become one of the central pivots around which a campaign can be built.

The Word Is Truth

One of the foundations of most theology is that the Gods define their own doctrine, and that mortal religion is a process of discovering the nature of the God. The Word Of God defines the theology.

My Fumanor campaigns deliberately inverted this relationship. The Gods were defined by, and constrained by, the theology imposed on them by Human Priests – something they discovered the hard way. If the priesthood decides that Thor has the head of a bull, and makes that canon within the Church, Thor will wake up tomorrow in the shape of a Minotaur. If the priesthood decrees that Thor creates storms but does not end them, Thor can only create storms, he cannot end them. If the priesthood decrees that Thor only rides storms, and that storms are natural phenomena, Thor gets to use thunderclouds as chariots – but can no longer create storms. And, if they decide that a personal conflict has arisen between Odin and his Son, the two will find themselves in a bad mood whenever they are in the same vicinity as each other – and soon enough, there will be a conflict between them. Only when there is a significant plurality of opinion does the Deity have a choice as to his nature; the rest of the time, he can simply choose what to do about it.

Much of the backstory of the Campaigns that have been set in that Game Universe have been explorations of this concept, and its ramifications, and more is to follow. But here are a few highlights.

The Dangers Of Heresies

Heretical Beliefs immediatly become the bane of a Deity’s existance. Especially if these heresies become widespread. Gross heresies are easily countered by a conservative theological administration, but more subtle heresies and misconceptions can become common belief without opposition. Any aspect of a deity’s personal mythology that is not fixed in place by the church is up for grabs – from what they prefer for breakfast to how they treat their wife, or even who they are attracted to. Hence Zues finds himself lusting at various times over anything that moves, while Athena becomes a jealous wife, and all because someone thought a Swan looked pretty.

The enemies of the Gods sought to actively use this against their opposition in a pre-campaign era of the background. Impersonating priests, they started spreading all sorts of stories that sounded good at the time, and eroded the purity of concept and purpose of the Gods.

The Limits Of Mortal Imagination

Some people have very active imaginations, others do not. Most people have limits to their imaginations – I would say “all people” but I can’t prove that! It’s also human nature to be skeptical except in certain circumstances, such as when a lie is wrapped around a good and plausible story. There’s no such thing as a God of Gravity because no-one ever imagined one and convinced people that he existed. The Gods can only manipulate time in very limited ways because people have trouble imagining and believing anything else – time just IS.

The bigger the concept, the harder it is to make the belief in the concept to be widespread. Some people still think the moon landings were a Hoax, and it wouldn’t surprise me if there were still people who think the earth is flat. Personally, I think the moon landings were real, and that the Earth is an imperfect oblate spheroid – and so do most people. That doesn’t make either of us right or wrong, for that you need evidence and facts.

While the collective human imagination is able to dream up some pretty wild things, convincing a majority of people that they are real is another trick altogether. The astonishing thing is that it happens from time to time!

The Hazards Of Mortal Corruption

Clearly, if mortals grow corrupt – and it happens – they can corrupt the message to their own benefit. Wealth can be spent on beautifying temples and granting priests lives of luxury “for the greater glory of our God” in place of actually performing the Deity’s work. Divine favour can be withheld from the poor, or the impure, or even simply the racially or culturally different. Greed, Racism, Lust for Power, Ideology – these can all contaminate the pure “word of god”, and constrain the God’s ability to use what power he has.

Something that has yet to emerge – largely because I’ve not yet decided whether to take ‘the next logical step’, or if it is one step too far – is the possibility that since moral corruption breeds moral corruption, that this sort of behaviour can corrupt the morals of the Gods themselves. While a logical possibility, I’m not sure that this would not violate the history of the campaign (because I didn’t think of it at the time) – it might be a little too late at this point.

The Devestating Impact Of Trade

Given this central premise, the ramifications keep coming. What happens when two different population groups start to trade? Ideas get exchanged, ideologies blend together, and concepts hybridise. Parts of one language get absorbed by the other, and vice-versa. And theologians attempt to reconcile the things they thought they knew with foreign notions and experiences and mythologies.

Normally a positive outcome, prompting social and philosophical growth, when beliefs dictate the nature and limits of the Gods instead of the Gods dictating the Theology, the consequences can be unexpected and undesirable.

Consider the consequences of a blending of Roman and Norse mythology, for example. Both contain a Deity whose trademark characteristic is the Hammer, but one of them is the Lame Hephaestus, master of the forge, and the other is a God Of Thunder. Combining those characteristics produces a Deity who is lame, weilds a hammer, is a smith, and who creates thunder and lightning whenever his hammer strikes his Anvil. One deity takes on the characteristics of both, and the other is left an empty shell. Further, in Norse mythology, the master smiths are the Dwarves – so perhaps Thor is suddenly a Dwarf, or half-Dwarf. Invent a little dalliance in the past between Odin and a Dwarf Princess to explain this and before you know it, the entire Mythos and Pantheon has been redefined.

When Civilizations Fall

With the Gods having active and evil opposition from outside their number, collatoral damage from the conflicts between the two will ensure that mortal civilizations will rise and fall, and each time this happens, Holy Books get lost or damaged, legends are forgotten and new myths written to take their place. Invented material replaces theological foundation, and the Gods are as changed by the calamity as are the Mortal Societies that are affected.

If a culture is wiped out by a great storm, how likely is it that a storm god will emerge as a villain in the next civilization to emerge? If a tidal wave devestates a culture, what odds that a placid god of Fishing will be cast as wrathful and angry unless appeased?

Chinese Whispers Through The Ages

And finally, there is the simple failure of clear communications. Tales get misinterpreted, parables are taken as factual event and vice-versa. Names get exchanged in stories, responsibilities get misplaced. No-one with any experience of the childhood game would entrust any significant information to the Chinese Whispers mode of communications – but that is exactly what happens when reading and writing is not universal and people are educated through spoken narrative and rote.

Interpretations naturally change and evolve over time, and not always for the better.

The Impact On Cosmology

Limiting Omnipotence has a substantial effect on a campaign’s Cosmology; certainly, the origins of the universe would need to change (unless the act of creation is what consumed so much Divine Power that it is the cause of restricted Omnipotence, of course).

While it is more frequently the case that a change in the nature of Divinity will prompt a change in the Cosmology of the campaign, it can occasionally be inspiring to reverse this process. What if the Astral Plane is the place of Nightmares, a location in which these monstrosities are real and actual? How might the Mythology of the campaign be altered by this premise, which requires the Gods to battle their way through these horrors in order to affect the Material world? Perhaps the Soul, on death, has to fight it’s way through these terrors in order to reach the afterlife? Perhaps there are bridges, safe passages, that are protected by the Gods?

How would these changes affect various spells? The nature and purpose of Demons and Devils? The nature and cause of Evil?

Any of the methods of limiting divine power that have been suggesed will have an impact on the behaviour of the Gods, on the structure and (possibly mythic) origins of the universe, on the behaviour and role of the church, and so on. A campaign does not have to be a high-magic cosmic quest through the planes of existance for these changes to have a real and observable impact on the society surrounding PCs and to shape the adventures that are open to them.

Other Benefits OF Divine Limits

We’re nearing the end of this exploration of constrained omnipotence. But, before I wrap the subject up and put it to bed, I wanted to take a moment to look at some of the other benefits that derive from limiting the power of Gods in a D&D game. These are advantages that I didn’t consider necessary to justify the concept, but that come along for the ride, as it were – fringe benefits that should convince just about everyone that this is a good idea.

The Impact On Opposition

If the Gods are less powerful, so can be the enemies they face – which brings them within range of PCs who need something to get their teeth into. Or the Gods can be seriously outmatched, requiring the PCs to get clever in finding ways to even the match between the two. Either way, Divine Enemies become viable opposition for high-level PCs.

Differential Divinity

Deities who are not much more powerful than high-levelPCs, or are perhaps even less powerful (but have different constraints) means that Divine Ascension becomes a viable objective for an ambitious character. In fact, there can be all manner of intermediate stages between Greater Gods and 1st-level characters, offering progressive ambitions – which means that instead of one big payoff, the GM can permit characters some success along the way.

Playability

Making the Gods fallable and limited makes them a lot more playable in many respects. “Deity” becomes little more than a powerful race with few members, and the appearance of these individuals within a game no longer stretches credibility to the breaking point. In practical terms, the strength and number of abilities that they can bring to bear is clearly reduced, and this makes them manageable even in combat conditions.

The Expression of Personality

There’s not a lot of scope for the expression of personality if everything can be resolved with a wave of the Divine Hand. Limiting the Gods means that characters can interact with them as they would with any other NPC – they might be powerful, respected, even revered, but they don’t take over the campaign with their mere presence.

Spotlight On The PCs

If the spotlight is no longer being hogged by the Gods in any interaction with the PCs, that means that there is more scope for the PCs to figure prominantly. The more that the players can take their character’s destinies into their own hands, the better off the campaign is. What’s more, removing the Gods as a ‘cheat mode’ puts the pressure to succeed back where it belongs, on the characters that are supposed to be the stars of the campaign.

Fallability and the Mortal Backstop

The less the Gods can solve the big problems on their own, the more scope there is for the PCs to be called in to solve them – in other words, to have an adventure. Ironically, making the Gods smaller makes the Campaign potential bigger.

The Gods Help Those Who Help Themselves

In a metagame context, this is referring to the ability of limited Divinities to help the GM create a memorable and lasting campaign. I mean, seriously – there are just too many up-sides not to seriously consider weakening the Gods in any campaign you run.

That’s not to say they should be walkovers – just that if they are mountains, top-level PCs should at least be foothills, able to see the peaks and heights to which they might aspire. As always, there is a perfect balance that will be different in every campaign and for every combination of players and GM. But that balance is often to be found a lot lower than most GMs set the bar.

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Break Down The Door – 5 Encounter Seeds


Break down the door encountersIn my article about how to be a confident game master, I mentioned I have encounter seeds ready during games that I categorise as break down the door. Campaign Mastery reader Will asked to see what these were, so here they are. Thanks for the request, Will!

If gameplay slows, or if I get stuck for an idea when the NPCs do something, I draw from my encounter seeds list. These are proto-encounters not yet fleshed out, waiting for circumstances to crystallise before they can be brought into play. A subcategory in my list of seeds is break down the door. These are pure action scenes that will inject energy and excitement into the game through some good old-fashioned combat.

Break Down The Door #1: Gather Information

The PCs have many smart enemies who will not sacrifice important minions without knowing more about the characters’ abilities. So, foes throw a group of flunkies against the PCs and observe. Then they return to their evil lairs and plot more potent challenges.

A player of mine said his GM in another campaign ran monsters like they all had Bluetooth headsets on. Monsters have perfect coordination, exact countermeasures in place tuned to the PCs’ abilities, and the perfect tactics in place against the party. He says it stretches his belief that his foes are always so well-informed, organised and intelligent.

Foes in my campaigns start with knowing nothing about the PCs. If the characters become a thorn in their sides, then they will start with a gather information campaign. Their minions will go out and make Gather Info checks. But this only tells them so much. Eventually they need to tackle the PCs head-on to learn what they are made of.

Here are a few things foes look for when observing these battles:

  • Character classes. It pays to know who the spellcasters are, if any, who the tough guys are and who the sneaky guys are, in the party. From this information can be deduced possible special abilities to defend against, weaknesses to exploit, and tactics to strategize around.
  • Best spell. You also want to know what each spellcaster’s power level, typical spell selections and best spells are.
  • Key buffs. What kind of defences does the party put in place? Any offensive buffs?
  • Special abilities and feats. You do not want be caught off guard when your foe throws a special, twisty punch at you.
  • Monster types. Some foes employ minions of a certain type, such as undead, outsiders, aquatic and so on. Before pitching the minions they have invested the most in against the PCs, you want to first learn how they handle creatures of a similar nature.
  • Magic items. This is the most interesting category. Villains want to know what magic items the characters have, what those items’ properties are, plus any command words or activation rituals. Magic items might also become treasure, so it pays to know everything you can from the people who know how to use them.

A Gather Information type encounter needs flunkies, which I just pick out of the Beastiary on-the-fly according to what the villain has at his disposal from the ranks of his minions, prisoners, slaves or mercenaries.

The encounter also needs at least one observer. Perceptive enemies tend to get spotted, so some redundancy is ideal. The observer should be a minion intelligent enough to understand and assess the characters.

Break Down The Door #2: False Alarm

The PCs are attacked out of the blue for the wrong reason. This lets me attack them with anything, at anytime, anywhere. I will sort out the details between sessions as to who ordered the attack and why.

A potential twist involves the attack actually being targeted correctly. The attackers are tricked into attacking the PCs, but cannot divulge any important details if defeated, captured or parleyed with. Alternatively, the PCs are purposefully misinformed or setup so as to trigger the attack.

For example, Klash is a gang leader who curries favour with the neighbourhood villain, but the PCs have made him lose face recently and have also identified themselves as a potential threat to his plans. It is simple enough for Klash to find someone in the neighbourhood, or even outside the neighbourhood, to trick into attacking the PCs. A jilted lover gets told the party’s paladin was the other man. Somebody just robbed receives information that the PCs did it. A rival gang learns the PCs are apparently trash-talking them.

Break Down The Door #3: Is That A Banjo I Hear?

One of the themes in my campaign involves storms and nature gone awry. There is a backstory to this, and it is one of the central conflicts of the campaign. If the PCs get involved, then they will learn a group of mighty villains fight against each other in the ways they best know how to gain an epic prize. If the characters ignore the ongoing hooks, then a series of background events are scheduled to occur to make their lives, and the lives of everyone in Riddleport, interesting.

One the events is something called Blood Rain. Actual blood falls from the sky. When enough has fallen and gathered into pools, blood elementals coalesce and attack anything nearby.

There are different sub-types of blood elementals, giving me the option of kicking down the door at different challenge levels depending on what I need at the time.

The aberrations are mindless, twisted and warped beings. They have no treasure or clues to help the PCs. However, ongoing news and rumours about these creatures appearing and attacking during various occurrences of blood rain give me dramatic options and serve as an ongoing hook into my storm plot, should the characters ever get curious about why this dangerous rain is occurring and how.

Break Down The Door #4: Send A Message

If certain villains could talk to the PCs they would have a lot to say. The thing is, some bad guys in my campaign are not too articulate. So instead of parley, they send minions to whack the characters to send a message of a different type: beware, quit interfering, I am too dangerous to mess with.

Cunning villains will add additional messages and pitfalls their unwitting minions can deliver, such as:

  • Booby-trapped items (scroll cases, small boxes and even clothing work well)
  • Notes that mislead and misinform (physical notes, tattoos or even verbal messages the minions have to memorise and deliver on their initiative)
  • Cursed items
  • False maps (that lead the PCs to a false home base with enough traps and defences and tricks to kill 100 characters)
  • Ransom note (true or a setup)

For these encounters, I send foes that would realistically be minions of the villains, or hirable mercenaries. I can’t just open the Beastiary and randomly launch a critter. The encounter needs to involve foes that not only fit the parameters of the Riddleport setting, but could also be encountered at other times depending on the characters’ actions. A closed population loop, if you will.

Mind you, the city is a pirate port. Technically anything could be brought ashore….

Break Down The Door #5: Showing The Bling

The game setting is a small city with eyes and ears always open for the opportunity for a bit of larceny. The PCs are sometimes not careful about hiding their wealth, especially magic items. As word spreads, the group will attract treasure hunters looking to whack characters and take their stuff.

Divide and conquer works best, if foes are cunning. The group splits up often to take care of errands or avoid attracting attention. The PCs have already learned walking around as a group six members strong guarantees being perceived as a gang and being attacked by others protecting their territory. So, it is often possible to attempt an ambush of one or two PCs at a time.

Stupid foes will attack the group at the PCs’ home base or during the few times the party walks around as a group.

This gives me the option to engage the whole group or just certain PCs, depending on who I want to keep busy at the game table. For example, while the wizard is at his guild doing various transactions, and the priest is at his church gathering intel, four players are left spinning dice on their character sheets to see who has can spin the longest. Great, I got the message, roll initiative.

Details Shmetails

Each of these encounter seeds leave many detail decisions for game time. This minimises my planning and gives me maximum flexibility for how and when I want to trigger the encounters. I do have factions, villains and minions fleshed out to a certain degree already. So I am drawing on more details available to me than just at the encounter level.

Whenever possible I try to link encounters to my plots or current character threads. Too many open loops and loose ends gets me confused and dilutes the campaign. Even though the characters are making most of the calls in this campaign, I want to make encounters circle back to something meaningful that moves the plot forward.

Resources

Roleplaying Quests

Wilderness Encounter Ideas

150 Benign Urban Encounters

120 Benign Wilderness Encounters

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Pulling That Lever: The Selection Of Leaders In RPG Societies


Nobles from ancient Mede

Okay, so for the first time since we started this online magazine/blog, one of us has missed getting a post up. Johnn struck problems with his planned post at the last possible moment, and then tried to rewrite it but missed the deadline; thought that he would be able to get it up a day late, but struck problems again. Each day that followed, he thought he was on the verge of getting it done, but like xeno’s paradox, he never quite seemed to get there. Rest assured, he will be back next week, and we’ll both be working doubly hard to make sure this doesn’t happen again.

For those who don’t know, Australia is currently in the middle of the lead-up to a Federal Election in which both candidates achieved their office by ousting the person who previosuly held office – one by party room ballot and the other by strongarm numbers politics from a dominant faction within their political party. It was quite surprising that the former politician, the Leader of the Australian Opposition, tried to make a big deal about the way his opponant came to power within her party, given that it was not all that different to his own story.

And that got me to thinking about societies in RPGs, and how their rulers were selected.

All too often, it seems that the model is divine right by birth, or seizing power through conquest or skullduggery, or the rulers are simply “there”. Those are far from the only options, so here are a few others to think about.

Appointment By Merit


Perhaps the ruler is appointed because he seems to be the best person for the job. There has been some historical precedent for this. The key question then becomes, “who decides?”. By using different methods of locating and selecting between candidates, quite different social models are achieved.

Perhaps only those who achieve a certain scholastic ability may be considered; what happens then if no candidates meet those criteria? Or perhaps military success is essential – the achievement of a certain ranking, or victory in a war – which means that the society in question must have these wars regularly, just to produce people qualified to lead them! Perhaps all the interested candidates have to fight it out in an arena for the position, and it goes to the last man standing, or have to win a poetry composition contest. All of these imply quite distinctive and unusual societies.

In my Fumanor campaign, prior to their conquest by Lolth, the Elves elected their Royal Family as the most charismatic amongst them (the human democratic model) but gave him absolutely no power except to be their policy mouthpiece. Of course, as my players know full well, that didn’t work out too well for the elves!

Election by Vote


In an era without mass communications, direct election by popular vote is not a viable alternative for a large population. A republican model is the only practical choice for a citizen-based decision within such a society, where the locals elect a local representative, and the local representatives then get together to choose one of their number to serve as a regional representatives; and these then get together and choose one of their number to serve at the next level up the heirarchy, and so on until you reach the very top of the power structure.

In any popular electoral system, the defining parameters of the society are the questions of who has the right to stand for election, and who has the right to vote. In Australia, there is no restriction on the first, and everyone not only has the right to vote, it is manditory. That in turn means that our voting happens on a Saturday. In the US, convicted riminals cannot stand for election, voting is not compulsory, many groups aren’t permitted to vote even if they want to, and voting is held on a weekday. Instead of a situation in which voting is percieved as both a right and a duty, like paying your taxes, the US has a situation in which it is a privilige – one that the system seems to make as inconvenient to exercise as possible, as though they were deliberately trying to covet the votes only of those with strong opinions.

Once again, these are not the only models. What if the right to vote is a privilige that must be purchased from the government at a set rate, and one can buy the right to vote multiple times to get multiple votes, for example – is that a plutocracy, or is it a democracy, or is it something in between?

Or perhaps voting is restricted, or weighted, according to Intelligence?

Or perhaps only those who have served in a military organisation are permitted to vote – the “Stsrship Troopers” model of government.

Election by achievement


Still another, often-overlooked choice, is the old “sword from the stone” standby, and any analagous patterns the GM may concieve. Perhaps, in a culture of hunters, one can only vote once one has a successful kill in a hunt, and there is a ranking of creatures hunted that determines the weighting of that vote?

Perhaps whosever can wear a certain ring is the rightful ruler, and to all others it grows white hot?

Perhaps a ruler must have a certain skill, such as healing? Or must befriend a wild dragon?

The most obvious election by achievement is conquest, of course.

Ruling by Divine Right: A fantasy variation


Even if the “Divine Right” of Rule is the system, we may be talking about a fantasy game in which the Gods are real, tangible, beings. Perhaps instead of rule being inherited from one’s father, all the sons and daughters of noble birth are gathered together and the actual Gods choose which of them shall be King or Queen?

The impact on characters


Consider that, whatever may be required in order to gain office, the current holders of that office must have done those things, met those requirements. Modern politicians live and die by the sound byte. In the recent past, it was a candidate’s ability to Orate that brought office, and there is still an element of that in modern times. In the future, it may be skill in utilizing internet-based social networking that makes the difference.

In earlier days, when politicians and public servants were poorly paid, only those who were independantly wealthy could afford to stand for public office; these days, the position pays so much that only those who already have connections to a political machine can reasonably hope to be elected, save by some wild fluke. Once elected, though, these wild cards tend to stay in office for quite a while, at least in Australia – where even 22 years after his departure from public office, a substantial slice of the community can still tell you who Ted Mack was. (If you don’t know, the page linked to above is worth spending a couple of minutes glancing over – politicians who act with integrity, and are seen to act with integrity, are rare enough that they should be celebrated).

The nature of the government, and how one achieves a position within that government, dictates broadly what sort of people will be attracted to that office and what sort of skills they must have cultivated in order to achieve it. This is not mere abstract information; this constitutes a thread of personal nature common to all representatives of that government, their abilities and personalities. And that in turn speaks to their general level of competance, and morality, within the leaders of the society.

There are so many options available, this article is only capable of scratching the surface, intended only to get you to think about the subject the next time you create a society for an RPG. Spare a little thought for how the officials of that society gain office; if you ensure that this methodology reflects the attitudes and values you want the fictional society to have, it will give you a foundation on which to base everything else in that society.

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We All Have Our Roles To Play: A Functional Perspective on Personality Archetypes, Part 1


This entry is part 1 of 4 in the series We All Have Our Roles

Everything that I’ve ever read on the subject has defined archetypes for RPGs either in terms of the psychology of the character or the abilities of the character. Filling out a team roster is often a case of players selecting from a chinese menu – “let’s see, we need a fighter, a mage, a rogue, a cleric, and once those are filled, anyone else can take a something else,” or “okay, we’ve got a brooding loner, a perky teenager, a faded party girl, and a holier-than-though type with a shady past”.

There’s nothing wrong with either method of ensuring that a party in your campaign has both a spread of personalities and a comprehensive set of capabilities. In fact, I used the power-based character archetype structure to fill out the roster in my Superhero campaign, and that has worked out fairly well, especially since there weren’t enough characters to fill all the available archetype choices, so there was always something that the team was going to struggle with.

A little while ago, I thought of a different classification approach, based not so much on what the characters could do as a team, but of how the characters fitted into the team. With a bit of thought, I came up with a list of 24 archetypes based on that concept (and there are undoubtedly more). A single character may fill just one of these roles within the party or may fill multiple roles, either willingly or reluctantly. In some teams, all members of the party will have one of these roles in common, although this is unusual; but everyone needs to have at least one role from this list that is unique to them alone.

These arechetypes are as much a function of the personality of the player as they are the abilities and personality of the character in conjunction and in comparison with the rest of the party.

Why is this perspective valuable? Because it permits the GM to tailor scenes in a game based on those roles – either showing off the role, or using the role to complicate the parties’ lives, or simply as a another avenue for making sure that everyone at the table has something to do in each adventure.

The list has grown so large, and I have so much to say about some of the entries, that this article has needed to be broken into multiple parts, which will be appearing at irregular intervals over the next few months, as there are other posts that I will want to make in between each portion of the series.

So, without further ado, let’s get started…

1. The Heart Of The Team:

This is the person who keeps the team going, who those characters who are polar opposites link to in order to cooperate (or simply cooexist). Without this character, or someone in this role, the team begins to flounder. This is not necessarily a mothering role, though often the mother in a TV show provides this function, such as “Marion Cunningham” in Happy Days. In Numbers, for example, it’s the father who fills this role; in the X-men comics, the role was shuffled around from Prof X to Marvel Girl to Cyclops, until settling down on the unlikeliest of shoulders – those of Wolverine. In The Avengers, this has usually been either Hawkeye or Captain America.

Plots which revolve around questions of committment, or of why the party do what they do, should focus on the Heart Of The Team. Plots which remove or neutralise this character focus on what they bring to the team, and should prominantly bring to the surface differences in opinions between the characters to highlight this character’s role as the peacemaker.

This archetype is all about the passion and determination and drive of the team, the character that inspires individual personalities to work together in common cause; it is the central unifying force of the party. Without them, the party should drift off in different directions, even working in support of causes or objectives that are ultimately at odds. Some characters, those with less drive in the makeup, should simply drift, lazily, while outside events pull them this way and that, and everything surrounding the party gets out of hand, until it seems overwhelming, and futile to oppose.

2. The Tactician

There’s always someone who leaps in ahead of the others with a plan, who stage-manages (however competantly or otherwise) the party when they are challenged. If this character is not run by the player with this role, strange things can happen within the team – the character who is supposed to be coming up with the plans can be percieved as not pulling their weight, for example, when there are others contributing no more, or even less, to the groups’ success.

There are a couple of strategies for managing this situation, which is one that every GM will encounter at some point, but they all have flaws and imperfections. One is to permit the player who is good at this sort of thing to speak for the character even though it isn’t theirs; if the two players have gotten together and come to an agreement in this respect, this strategy can be successful, but otherwise it can feel like a perpetual criticism of the player of the character in the tactician’s role.

A second option is for the GM to deliberately feed solutions to the player in question, possibly as a result of appropriate die rolls. While this preserves the simulation of reality and the dignity of the player in question, I hate this approach because it sacrifices too much of the interactivity of the game and leaves the GM open to accusations of plot trains.

Another tactic is for the GM to bias his handling of the results, putting additional impediments in the path of any plan not suggested by the tactician characters’ player, no matter how logical they may be, while smoothing the path of the plans offered by The Tactician character’s player, no matter how ridiculous or shortsighted they may be. This robs the overall campaign of verisimilitude in order to make the character’s supposed role in the team seem more believable – and, like all plans that rob peter to pay paul, will eventually come unstuck. It also leaves the GM open to charges of favoritism that are pretty well justified. To be completely honest, until recently, this would have been my best answer to the problem, but I’ve recently become disenchanted with it.

The best approach that I have been able to think of – and which I have yet to actually trial – is to implement a new type of game scene, inspired by the “Charlie-visions” in Numb3rs. In this game scene, the players are no longer playing their characters; instead, they are participating in a round-robbin style collaboration inside the head of the tactician. When the players, as a group, come up with a plan and agree on it, they document it, and we resume normal roleplay – with the outcome from this planning session emerging from the lips of the ‘tactician’ character.

The biggest advantage to this approach, the one that has sold me on it, is that there is no longer a need to take time out, or one-on-one time away from the gaming table, in order to brief the character and give his player the time needed to plan a strategy.

Scenarios revolving around this character are usually fish-out-of-water in nature, where the character is put into a situation that can’t be solved with tactical acumen, and this frequently plays to the strengths of a player who is not a tactician himself. The other form of scenario that revolves around this type of character are situations in which the obvious tactical solutions are blocked by moral or other considerations, which can be reflected in internal or even intra-party squabbling and debate.

If this character goes missing for whatever reason, the team are likely to make tactically poor decisions which may provide short-term success at the cost of greater difficulties in the long run, or which incur greater costs, either of a personal or financial nature. In short, their absence should create a mess that they will have to clean up when they return. The kidnapping or holding as hostage this character is an event that should be sure to complicate the lives of the entire party for some time to come, especially if the remainder of the party have to make some tricky decisions or beg favours from untrustworthy outsiders – metaphoric deals with the devil – in order to achieve the rescue.

3. The Moral Guardian

Another key function within the team is the person with the moral compass, who decides what is right and what is wrong, what is acceptable and what is crossing some invisible line of morality. It can be said that so long as a party knows that what they have done is right, it doesn’t matter how the rest of the campaign world percieves their actions; and while that is not going to be universally true, it’s great territory for a campaign to explore.

Quite obviously, questions of morality will play to this character’s strengths, as will the far more subtle scenarios in which the party do what seems to be the right thing only to discover that the situation was not as clear-cut as it seemed. A character in this role will often conflict with the tactician over matters of expediency, which in turn gives other archetypes a situation to play off.

As with the tactician, this team member’s absence should expose the team to errors within this archetype’s province. If that situation was capable of leading to metaphoric deals with the devil, this situation gives a literal interpretation to that outcome. Once again, the true cost of these deals should not become aparrant for some time to come, and even when the debt is repayed, it should seem to be in some innocuous, even trivial, manner. It should be the first domino in a long chain, the butterfly flapping its wings in Peking that ultimately creates a blizzard over Cairo.

4. The Rock

The last of the archetypes that I’ll examine in today’s post is The Rock, the character that everyone can lean on for support, the character that can stand firm against any assault, the character that puts the backbone into the team. Frequently portrayed as “staunch” or “indomitable”, this arechetype can be far more interesting when united with some other personality profile. It might be a character who is so innocent and without guile that the stand against the most overwhelming opposition through naivity and faith; it might be a character who is so passionate for a cause or belief that they will make any sacrifice in its name; ir might be a character who is so hate-filled and obsessed that nothing but their cause matters. It can even be a character like a mafia Don who is so corrupt and despicable that they can withstand any opposition by using someone else as a meat shield – but who is forgiven for this because he always has the best interests of ‘the family’ foremost in his mind!

Losing this character archetype can be extremely disruptive to a party. Losing the Heart of the team may cost them their drive and commitment, their passion, if you will; losing The Rock destroys the team’s self confidence. Unless they find someone else around whom to rally, they will quickly and permanently go their different ways. Should the Heart and the Rock ever have a falling out, the same result will occur. At the same time, should anything ever threaten The Rock, this is the one person in whose defence the whole team will reunite and rally, regardless of past disagreements.

Sometimes, it can be the loss of The Rock that makes them the rallying point of the group; this was the premise of the personality dynamic in the third season of Blake’s 7, in which the character for which the series was named was lost; it was the untarnished and idealised reflection of the goals that the character represented that became the unifying force amongst the survivors, and goals that they sought to fulfill. Blake was percieved by them to be a martyr to the cause, and martyrs have always been rallying points for their followers. They are always idealised, and any feet of clay are lost or ignored in the rush to embrace that idealised image.

The important thing about Blake’s 7 as an example for RPGs is that the creators took the time to solidly embed the character in the viewer – two full seasons, in face – so that the viewer also became swept up in the martyrdom ferver. If the series had started with the first episode of season three, with the Blake character never being seen, the series would have failed to engage the passion of the audiance for the cause that kept viewers coming back, as the martyr would have been seen at arm’s length. This would have resulted in a paradygm shift for the whole series, leaving no balancing force for the focus on obsession that was one of its subtextual themes, and encouraging characters into far more one-dimensional patterns; it was the dichotomies of the drives and objectives of the originals that gave the writers such a broad palette for character interactions.

Still to come

Future installments of this series will study the following archetypes:

  1. The Mother Hen
  2. The Intellectual
  3. The Faithful
  4. The Air-head
  5. The Wild Card / Rebel / Scoundrel
  6. The Flashing Genius
  7. The Strange Uncle
  8. The Romantic
  9. The Comedian
  10. The Egotist
  11. The Drama Queen
  12. The Panicker
  13. The Messy One
  14. The Clean / Neat Freak
  15. The Hot-Head
  16. The Wannabe
  17. The Father-Figure
  18. The Greedy / Power-hungry
  19. The Troublemaker
  20. The Jealous One

While comment is welcome on the subject in general, especially the suggestion of any archetypes that I havn’t thought of yet, or in respect of the archetypes that I have focussed on in this part of the series, I would hope to avoid making future installments anticlimactic as a result of the premature discussion of any of these still-to-be-detailed archetypes. While I will happily read (and possibly incorporate into the article body) any comments you have on the list above, I may edit or even remove any comments aimed at the rest of the list. I promise, if I don’t publish your comment, I will have paid close attention to it, and will give credit where it’s due when the time comes!

Studying character roles in terms of the team dynamic is a whole new way of looking at the way characters interact, and offers a new tool for the creation of plots focussed on those interactions. I hope you’re all as excited by that as I am!

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Grow The Hobby With Great Game Mastering


rpg blog carnival logoHow to tell compelling stories about your campaign to non-gamers.

This month’s RPG carnival, held at Mad Brew Labs, covers the topic of growing the hobby.

Topics of new player recruitment and teaching come to mind. We might also consider the industry’s image, how game companies market their products, which companies get shelf space in book stores and what the media says about RPGs. We can also muse about generating more exposure through playing RPGs in school, gaming conventions and local comic and game stores.

However, these things are big new project opportunities that take time and commitment you probably do not have. I commend all the people who create and publish games, organize cons, start up RPG clubs and grow the hobby in those ways. Thanks very much, your hard work is appreciated!

But what about people like us who just try to eke out enough time to keep a regular campaign going? You already have a group of friends you game with, so you do not need to be recruiting and teaching new players all the time. You can game with your kids as well, but again that does not constitute an ongoing recruitment effort.

My solution, to add to this mix, is for you to become a great game master. You already run a campaign, so no extra time must be carved out of your week. The other solutions need you to spend a lot of time away from the game, organizing, running a business or designing. You just want to GM. If there is a solution that lets you continue to game and grow the hobby at the same time, we then have a structure in place likely to succeed. The growth takes care of itself while you carry on having fun. That’s a recipe we should all cook.

Each time you play, get better. Read this blog, subscribe to Roleplaying Tips, and think about how you want to improve. Figure out what techniques or ideas you want to try out. Picture the success you want to achieve as a GM. Research the areas where you want to improve. Most importantly, keep your campaign going. Run games as often as your life and your group permits. Each session improve in one little area. After a year or two or five, the results will be amazing.

A great GM runs a great game. This will get you and your group talking about your hobby to others. This is how you can grow the hobby without even trying. It just comes from applying yourself and focusing on reaching the next level of GMing.

Do you talk about your campaign to friends, family and co-workers? Probably not. Do your players? Nope, but if they do and you are in hearing distance, you might wince. “Then I rolled another 20 and I critted the lich for 103 points of damage. Man, that was a crazy fight.”

But become a great GM, and with a bit of coaching for your group, you can and will spread great stories about your hobby to others. If we all try to become great GMs, and those stories spread, the hobby grows at a grassroot level by making connections with non-gamers and capturing their interest and then their imagination. You get them curious and wanting to play. A world filled with great GMs generating interest in others to try RPGs out is a powerful force.

A great GM generates momentum to play more often, which creates a positive feedback loop. You and your group will take more time out to game more often if everyone is having a blast.

Great game master cycle

A great GM is a confident GM. This confidence becomes a subconscious message in the stories you tell others about your campaign. People are attracted to confident people and will listen more attentively.

A great GM gets everyone excited about the game. This excitement generates more conversation outside the game. If you see a great movie you tell others about it. So it goes if your players have an awesome game session they will tell others about it. Make this happen by running those awesome games.

Help players represent the game better

The Achilles heel of RPGs is how we talk about our games to others. Even if we are excited and confident, we tend to push non-gamers away with our terrible re-tellings of campaigns, sessions and memorable moments. It’s our curse. But we can lift it, and you can help your players lift it, with just a bit of coaching.

Think how you tell others about great movies, TV shows and books. Treat your game just like those things when you go to tell others about it. Learn how to communicate to non-gamers in compelling ways about your campaign, then teach your group how to do the same by example and with a bit of coaching.

Imagine one of your players is at a comic store picking up his monthly stack. He talks to the dude at the cash register about the awesome game he was in last night. He’s seen how you talk about games successfully outside the game session, and he uses a couple tips you’ve given him. And lo and behold, out comes a funny story. The guy at the cash register laughs appreciatively. On the way out, a customer asks him what game he was playing. Your player strikes up a short conversation. Afterward, the customer asks Mr. Cash Register if he can order a book called “GURPS” or “Mongoose Traveller Core Rules.” Hobby +1. Then +1d4 as that customer recruits a couple friends to try the game out.

How to tell great game stories

Here are the keys to telling great stories about awesome games you GM to non-gamers.

First, a couple things to avoid:

No jargon. If you use words specific to RPGs you will push away your audience. This is difficult, but persevere. Do not mention character classes, monster names, rules, dice or anything that comes out of a rulebook. You are not hiding something here or ashamed to be playing a game, but when communicating to someone unfamiliar with the jargon, they will lose interest immediately if you employ it. It does not matter if you are talking about games, computers, sports or even (especially?) your work. Avoid jargon and insider language.

No numbers. The numbers have no meaning in a good story. In a game sense, the numbers drive the results. But you are not in game mode now, you are in story telling mode. Do not mention ranks in skill, ability scores, dice rolls, total damage done. No numbers.

Next, some things to focus on and practice:

What is the story? Tell that. I define plot as your pre-game plans for the campaign, adventure and session. I define gameplay as all the things that happen during the game session including character actions and results. And I define story as what comes out of gameplay, minus the jargon and numbers.

Tell the story, not the plot or the gameplay. What actually happened in-game?

Great stories have a bit of structure. RPGs are interactive though, so you cannot guarantee this structure will emerge from gameplay. So how is a good story possible?

Consider how people tell good stories about interesting things that happen in their lives. People have stories about their kids and pets, stories of strange or funny incidents, or just anecdotes about things going on in their lives. These stories also have no guarantee of great story structure before the events occur. So it is with RPG. Make do with what you’ve got, it’ll be just fine.

A good, everyday storyteller actually does use a simple structure you can follow to change your RPG stories into compelling ones for non-gamers.

Story structure

The hook captures listener interest. Often this is a segue in the middle of a conversation so the conversation flows naturally. “Speaking of being bitten by a dog, I was playing a game the other night and….” That’s a great hook (assuming you and the others were already chatting about dog bites).

The introduction sets the scene. Orient the listener to the elements of the story. Who and what is involved in the story, and why?

Conflict covers the meat of your story. What is at stake? What were the struggles? Who did what? Because you are describing some kind of conflict, the story becomes interesting. Talking about paint drying will drive your audience away. Talking about paint drying on a park bench just before your boss sits on it will keep your audience hanging on what happens next.

Resolution provides details about how things ended up. It is the pay-off to the story and reward for listening. Do not put pressure on yourself to provide the ultimate twist or most amazing resolution ever. It just needs to be interesting.

When you tell a gaming story, consider the resolution first. Only pick stories that have interesting endings. A boring ending, one that makes no sense or one that is obvious, kills your story.

“So what happened to the kid?”

“Oh, they let him go with enough food and water for a week and a warning to find a new job. He seemed grateful and I think he might actually part ways with his family. I mean, what kind of father makes his son hunt people down to collect their bad debts?”

Cliffhangers make great endings and lend themselves particularly well to gaming stories as campaigns and adventures are ongoing things.

“So what happened to the kid?”

“Oh, they let him go with enough food and water for a week and a warning to find a new job. He seemed grateful and I think he might actually part ways with his family. I mean, what kind of father makes his son hunt people down to collect their bad debts?

But, just as the group turned to go back inside, a carriage rolled up and hands seized the kid, hauled him inside and the carriage raced off before anyone could react. I guess we’ll have to wait to find out what that was all about.”

Talk about character and relationships and conflicts. A good story involves interesting people. Though ironic, a good gaming story is not about the game. It’s about what happens to the PCs and NPCs in the game. You can talk about crazy explosions, bizarre places and weird events, but they lose all meaning because they never really happened. It’s all make-believe. Who cares if a house blew up if the event did not happen in real life?

Instead, people get hooked on characters and what happens to them. PCs and NPCs are just characters in a story to your non-gamer listeners. Work this to your advantage and tell the story accordingly. Focus on who, first, then what happens to them.

Again, pretend you are talking about a great movie or book.

“The game we played last week was about five people in a fantasy world on a quest. They have to discover a cure to save a small village from a plague that turns your skin black and kills you inside a week. It’s a terrible thing and a lot of people are suffering.

So, this group of people travels to a nearby village. They have to go on foot because it’s a fantasy world and there are no cars or planes or anything like that.

Well, one of the group members, who is supposed to be a hero on this heroic quest, right? He disturbs a monstrous creature from a deep sleep and attacks it. The thing has scaly skin, teeth the length of a baseball bat, and a tail with spikes on the end, that if they puncture your skin, they poison and kill you almost immediately.

The group fights this creature and wins, but several group members were wounded. When they asked the guy who woke the creature up why he attacked it, he said he wanted the thing’s treasure. Paul, you know him? He plays the game with us. Paul asks if the creature has pockets!

Anyway, they make it to the neighbouring village and learn the cure for the plague is blood from the creature they whacked en route. D’oh! Some heroes they are. They teased Paul about it the whole night.”

Talk about actions. Describe what the characters do. Focus on the action. Tell things as a sequence of events. Character A does something and then XYZ happens. That’s a great recipe. Repeat several times until you reach the conclusion and you’ve just told a story in a great way.

Things often happen to characters. Avoid getting caught in the trap where you only describe forces that act upon the characters in your story. You need to have characters do something in your story, else the story comes out disjointed or weak. A mix is fine, where action and reaction take place, but include a lot of character action at the minimum.

Tell a funny story. Make people laugh and they like you and what you are talking about. Not every gaming story needs to be funny, but if you have a knack for humour, use it. Look for ironic and funny angles in events that happen during games to make your stories accessible to non-gamers. Tell your stories through this lens.

For example, for the people who know Paul in the plague story above, even if they do not like fantasy or do not understand the game, they will appreciate him getting teased by friends about something he did. If nothing else, your story would connect with others and speak to others in this way.

Be quick. Long stories fall flat. Tell your stories fast and efficiently. Get to the punch line or resolution in short order, else you lose your audience’s interest and attention.

I have another motive for advising you tell to quick stories. As GMs we track a lot of details about our games. It becomes tempting to dive into detail when telling gaming stories, because we know them and think they might be fun or important for the story. It never works out that way. Lift your head out of the game aspect and look at just the story angle, and you’ll find the extra details hamper your story, not help it.

Force yourself to summarize encounters, game sessions and even whole adventures into short stories without jargon. Your audience will appreciate it. More importantly, they’ll listen to your next story, and they might become interested in the game you are talking about.

Practice on your players

Practicing on a friendly audience helps when you go to tell others about interesting game moments. A dry run or two hones your story. The more often you tell a story, the better your delivery.

In addition, telling stories in the way advised above to your players gives them real examples of how they should relate their game to others. You become a living example. You also give them great stories to repeat. Perhaps they start to dig up stories of their own that they tell at the game table for *you* to re-tell!

Telling great stories about your game is also a great game mastering technique. What better way to engage your group than with awesome storytelling?

Here are some ways to put this to use:

Reminisce. During downtime or between sessions, tell stories about past campaigns. This keeps the game feeling alive and well when you’re not playing. It keeps the group excited about gaming. It creates a social atmosphere about gaming that sometimes gets lost if you tend to be all about getting down to business while gaming. Reminiscing also helps new players learn about the group, start sharing common knowledge, and fit in faster.

Recap. Start each session with the story so far. This is an awesome tool for getting everybody in the zone fast and kicking off serious gameplay soon after a session begins. You can also funnel in missed clues and hooks to give them another chance. You might ask a different player each session to recap instead, following the storytelling tips above, to help them practice, and also test their knowledge of what has happened in the game to date.

Roleplay. Have your NPCs tell great stories. If you can tell a short and entertaining story as an NPC, you can do it away from the game table as well. As a campaign tool, have NPCs recount parts of the campaign’s story from their point of view. Use this to distribute new hooks and clues, lay down false rumours, or encourage more roleplay in a combat-focused group.

Game log. Writing and speaking are two different skills, and you want to hone your oral storytelling. I recommend creating a video or audio game log in story format. Break sessions down into a few short stories. Record these and post them on your campaign site, email them to your players, and keep them on your computer for later replay. Recording your stories gives you an excellent tool for critiquing your storytelling!

Use these tips to start sharing awesome stories about your hobby with non-gamers. You will find great stories are universally enjoyed, so talking about RPGs to non-gamers becomes a non-issue for you after awhile and your confidence grows. Coach your players to develop these skills as well.

It all starts with great game mastering. Provide a super game and you generate super story potential. Learning to be a great GM requires little to no extra time, so you can just make it part of your hobby without hassle or cost. Being a great GM requires a desire to become one first. Actions will follow.

So, please, try to become a great game master. Enjoy the path this will take you on. Help the hobby grow as a result.

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Ask The GMs: Rubbing Two Dry Words Together


Why have different languages in an RPG? How can they be used to enhance a story? And what’s wrong with Universal Translators, anyway?

Ask the gamemasters

I have a question about using languages in fantasy RPGs. There are numerous articles and advice out there on how to create fictitious languages and make them sound realistic or add verisimilitude to the campaign setting, but that’s not my question. My question is, what’s the point? Why (other than verisimilitude) include languages at all, or have rules for them? From a narrative or game-play standpoint, why have multiple languages, or why not allow PCs to speak every language?

My question is prompted by a low-level magic item in D&D 4e called The Reading Glasses, which allow the wearer to read any language. My players grabbed this item immediately, but I felt that the game somehow lost something. But I wasn’t sure exactly what.

If the players can understand every language, you can’t have a plot line involving translating an ancient inscription, nor can the one player who speaks Goblinoid translate for the party. Are languages in RPGs just another plot device, or are they something more?

There’s a lot of advice out there for how to make languages seem realistic and sound good, but not much advice on how to actually use them in the game to enhance the story.

Ask the GMs - Mike

Mike’s answer:

What a great question! In fact, it’s three great questions in one: “Why have different languages?”, “What’s wrong with Universal Translators?”, and “How can Languages be used to enhance a game?”. Hopefully, answering the first two will provide most of the answers to the third along the way.

Verisimilitude

So let’s start with the obvious: People speak different languages and any game with any pretensions to believability has to acknowledge that in some way within the rules system. It can often be inconvenient and hard work for the GM and the players, but there it is.

Something a lot of people don’t realise is that languages are impure – some moreso than others. English is infamous, linguistically, for stealing words from other languages. Sometime when you’ve got a spare couple of hours, grab a cheap dictionary and go through crossing out all the words that have derived from other languages and see how little you are left with! I have seen estimates that 70% of basic English are words stolen from elsewhere.

This is because a Language grows to encompass ideas for which the root has no conception, or which express concepts more eloquently or succinctly, whenever a speaker of that language rubs shoulders with someone who uses a different lingo. The Hero System contains a language chart that attempts to codify the relatedness of one language to another. It’s notoriously flawed, but still one of the most ingenious approaches that I’ve seen.

Here’s a bit of fun to contemplate: the origins of particular words can be different in a fantasy game to those in real life. If “English” is how “common” is represented, then it would derive its vocabulary from a number of different lingual sources. These can’t be French, or German, or any other real-world language, so there must have been some other source. You can represent that by applying different accents to appropriate words, just for a bit of extra colour. Let’s assume that most of the words relating to brutal violence derive from Orcish, for example – then you could pronounce “Crunch” as “K’runch” (a slight hesitation after the initial “K” sound) to give your delivery a little more colour.

In my Shards Of Divinity campaign, I have actually mapped out how each language developed and derived and contaminated its neighbours, and in what order, so that if a character knows Orcish, I can tell how easily he can understand Giant, or vice versa. Why? Verisimilitude, more precious in a campaign than pearls. (You can download the chart from here as a PDF. To use it, all you have to know is that “Kingdom” is the name of the Common Tongue in the campaign, “Pious” is a Church language used for Holy Scriptures and Religious Services, and that you don’t have to worry about the different line weights and colours – they’re a leftover from the analysis. The entire history of the campaign world is hinted at and synopsised by this chart.

Colour

Beyond verisimilitude, and implied by the “Orcish pronunciation” suggestion, the use of other languages by the GM is a way of immediately giving flavour and colour to a population. This is something I wrote about in “The Floi Af Loft and Ryk Bolti”, where the Dwarvlings had their own language and place names, and the PCs were outsiders, and the selective use of non-English was a perpetual reminder to them of that.

In Shards Of Divinity, I have created “rules” for simulating each language as necessary. For example:

Elvish

  • Use French translations and search-and-replace as specified below.
  • The elvish alphabet contains no equivalent letters to ‘C’, ‘CH’, ‘G’, ‘P’, ‘Q’, ‘T’ (but does have ‘TH’), ‘V’, ‘X’, and ‘Z’.
  • Use ‘S’ for ‘TT’ and ‘FL’ for ‘J’.
  • Any ‘S’ followed by a consonant is doubled unless it is followed by a double consonant.
  • Use ‘Fe’ for ‘The’ and remove spaces between words (replace with hyphens).
  • Then tweak the result for a flowing pronunciation, converting some hyphens back into spaces.

Dwarvish

  • Use German, Hungarian or Russian translations and search-and-replace as specified below. If the resulting language uses a different typeface, convert the unicode to standard.
  • Dwarvish words emphasise A’s, K’s and Z’s. replace ‘A’ with ‘AA’, ‘CH’ with ‘K’, ‘S’ with ‘Z’, and ‘E’ to ‘U’. Also replace any sibilant ‘C’ with ‘Z’ (eg ‘sincere’ to ‘zinzuru’.)
  • Replace all R’s with H’s. (e.g. ‘zinzuru’ to ‘zinzuhu’)
  • The syllable “Kha” often figures prominently and means ‘deep’ or ‘strong’ or ‘valuable’ or ‘important’ depending on the phrasing and pronunciation, much of which is inaudible to the human ear. Insert it using copy and paste before the most important adjective(s) or nouns in any sentence. (so ‘sincere’ would be ‘zinzuru’ but ‘really truly sincere’ in the ‘you can trust me’ sense would be ‘khazin-zuru’ – note that I have inserted a hyphen to make the result phonetically easier to pronounce).

I translate selected nouns-and-adjectives using these techniques to give each race its own lingual flavour.

The Shape Of Thinking

Languages both shape, and are shaped by, the attitudes and values and philosophies of the races that speak them. In a warlike or paranoid culture, the literal translation of their word for ‘stranger’ is ‘enemy’. In a neutral culture, it might be ‘outsider’. In an arrogant culture, it might be ‘barbarian’. In a sociable society, it might be ‘guest’. The words you put in a character’s mouth can be deliberately ‘loaded’ to reflect that culture.

At the same time, the language spoken from birth colours the attitude of the individual, creating unrecognised and frequently unspoken assumptions that define commonalities of personality. This is less a factor in modern times, with improvements to communications technology exposing even the very young to foreign languages and cultures to some extent, but in any less-advanced culture, it would be far more prevalent. This is why a generic personality profile can be used to describe a ‘typical dwarf’ or a ‘typical elf’.

If something is truly unthinkable, there will be no word for it in the language. This shows up most clearly when translating text from one language into another and then back again. The technical term for this is Semantic Content, and the study of meaning is Semantics. It can be argued that English-speaking nations are more multi-cultural than non-English nations because English incorporates so much content from other languages, though I think that’s taking things too far and assuming causative connections that are unproven, to say the least.

This can be utilised by GMs – often without even thinking about it – simply by choosing phrasing appropriate to the culture when describing or speaking for them. But spelling it out in black-and-white enables players representing the cultures in question to further add to it.

I use this technique to ensure that even when I am speaking straightforward English to the players, what I am saying communicates, almost subliminally, something of the nature of the speaker. We all do – it’s part of the process of characterisation. Consider the following pair of statements, which mean essentially the same thing:

  • “Welcome, welcome, come in, sit down, make yourself comfortable, tea will be ready in just a moment, you will stay for dinner of course…”
  • “Go into Nag-luk’s home. In! Sit on floor in dirt. Put down weapons, take off armour, Nag-luk not attack. I kill food for you, keep you strong. Nag-luk say you stay here.”

A Vehicle for Prejudice

The incorporation of ill-defined and often submerged attitudes within a language makes it a vehicle for the transmission and assimilation of prejudice. Political Correctness has led to changes in the usage of English to remove many of these prejudices against women and other social minorities – there are those who say it has gone too far, but that’s not relevant to us at the moment.

Game environments rarely have the same prejudices against women, and so the language should not have the same prejudiced content and semantics. On the other hand, there are many other targets for prejudice that should take its place. Frankly, this is one of the hardest aspects of language to simulate in any way; in general, we are reduced to using the subject of the prejudice as an insult when applied to non-members of the species. Referring to a foul-mouthed shopkeeper as a “Dirty Orc”, for example.

Dynamic Linguistics

Another aspect of Language GMs can take advantage of is it naturally evolves in usage. “Gay” used to be a complimentary adjective used to refer to someone who was happy-go-lucky or light-hearted. Then it became a derogatory adjective used to refer to a homosexual or (to a lesser extent) a lesbian, when that was socially unacceptable; and, in more modern times, with the legitimisation of that sexual orientation, it has lost its negative connotations, without losing its newer meaning.

If you read some of the newspaper stories and fiction from late in the 19th century – HG Wells, Arthur Conan Doyle – you can see how the usage of ordinary language has changed in just a short span of time; I’m not talking about the advent of new terminology to describe new technologies, I mean everyday basic language. You can look even further afield to Shakespeare for more extreme examples.

I’ve seen newsreel footage, documentary features, and interviews from 60-70 years ago, and I can state explicitly that they have similar but even more pronounced shifts in spoken language in the same span of time. In fact, the Australian dialect has gone through at least four significant evolutions in that period of time, identifiable changes that are instantly recognisable and distinctive. I can’t speak for other countries, but I find that rate of change to be both notable and significant. Language reflects and embodies the history of a society, changing in response to changes in society and culture.

While it is difficult to do so, this can be sometimes used as a tool by the GM. It “merely” requires a detailed understanding of the history of the culture of the in-game speaker and some notion of how the language evolved in consequence of that history. Evolution of language might be slower in a fantasy game, because the social structure is developing less rapidly, but nevertheless there would be appreciable shifts in the language over time – meaning that Elves and other long-lived races probably don’t speak quite the same “common” as everyone else.

In an early Fumanor scenario, I used this phenomenon to offer the first hints that a high-ranking member of the town guard in Fort Sharpfang was in fact a Drow spy. The players couldn’t quite put their finger on what was wrong with Captain Winter, but they knew that there was something odd in the way he spoke. Instead of hitting them over the head with this information by means of exposition, I was able to implant it almost subliminally, shaping the players’ (and hence the characters’) reactions without their even being aware of it.

Something’s missing

So let’s start to transition from the discussion of language to a discussion of what can be lost when the distinctions of language are removed from the game by means of a spell or a magic device. Much of what’s been written above focuses on the spoken language, but the same principles apply to the written tongue.

What are the ways in which language is used that are no longer available to the GM under these circumstances?

Diplomatic Impact

Well, to start, Diplomatic Lag is no longer a factor. It is often the case that when two leaders communicate, the process introduces a delay into each exchange as statements are translated first one way and then the next. World leaders are often educated men who may well speak the language in question quite well, rendering the translator unnecessary; and it has long been an accepted diplomatic tactic to ignore the translator and use the delay to put a little more thought into the reply. That means in turn that diplomats and leaders have less to shield them from hasty and ill-advised decisions, and that prejudices will have an even greater impact on treaties and the like.

The consequence, in turn, is that there is a greater risk of offending the other party in any sort of negotiations – and not just diplomatic ones – leading to a breakdown of relations. Deals go south more abruptly, little wars and attitudes of belligerence will be more frequent – even if only a little.

The PCs should experience the impact in their negotiations – one makes what seems like an innocuous comment while trying to sell some leftover armour and the reply is for them to “get out of my tent/store before I call the Watch and have you arrested!” Wars should still be infrequent impediments but lesser expressions of anger – taxes on products from certain sources or whatever – should be more frequent.

Reputations will also be more fragile, more easily undermined. Remember when whats-his-name from Seinfeld got into trouble for shooting his mouth off at a drunken critic while doing a stand-up routine? Even politicians would not be immune – but there would be (as a result) slightly more tolerance for the occasional gaffe, which might well mean that a political figure could get away with something that they shouldn’t, at least for a longer span of time.

This innocuous piece of technology undermines social stability everywhere it is introduced. More perspicacious leaders might prefer to ban them, judging that to have a lower social cost than having a ubiquitous translation service available to one and all.

Mistranslation Plots

Any plot that revolves around mis-translations would become impossible (or do they? Keep reading…). Probably the most famous example is “To Serve Man” by Damon Knight, which was adopted into a classic Twilight Zone episode of the same title, which in turn was lampooned by The Simpsons in the first “Treehouse Of Horror” episode.

Even if the translators are banned, as proposed above, the mere fact of the banning would make people more aware of the possibility of a mistranslation and more cautious, undermining these plots.

Riddles and Word Games

These actually become either easier OR more difficult with the implementation of such technology. Consider the entrance to the Mines Of Moria in The Lord Of The Rings. What is the likelihood of being able to speak the Elvish word for “Friend” when you rely on magical translation services instead of actually learning the ‘foreign’ language? Consider also the riddles in Dream Park by Larry Niven in this context.

Precision in language, essential to such contests, is lost because most such devices would have a limited vocabulary, or would translate literally. Double-meanings and puns become impossible because either the translation is imperfect (drowning the intended double-meaning in a flood of unintended ones) or because it is so perfect that it makes clear one specific meaning, losing the ambiguity of language these games rely on.

In fact, accidental humour is more-or-less reduced to the pratfall; and when I picture the resulting society, it seems just a little grey and colourless. A subtle source of life has been drained from the social palette.

There are those who would argue that this is the inevitable end-product of any advance of technology. But this is a game, and the purpose and intent is to have fun – so I would counter that this is a level of realism that is counter-productive.

The Reading Glasses – NOT a minor item?

Our Enquiring GM describes The Reading Glasses as a minor item within the 4e canon, and technically it is possible that they are just that – but the level of impact that they have is far more significant than that. The ubiquity that is implied is such that this technology would radically reshape the game environment in all manner of subtle ways, as the preceding paragraphs attest. The same problem exists in D&D 3.x, where a first-level spell, “Comprehend Languages” permits characters to “understand all spoken and written languages”.

This sort of problem is inevitable in any campaign. It is the nature of GMs to pose impediments and challenges to players – a key contributing element of the entertainment of the game derives from overcoming those problems. And it is the nature of players to seek a universal solution to what they perceive as inconveniences, especially if the GM overuses a tactic or gets the party into enough trouble with it. I have not read the full description of The Reading Glasses – I searched online without success and don’t own a copy of the 4e manuals – but my first thought on reading what our Enquiring GM has written about them was ‘this sounds like something a player came up with’.

Why? Because, while it’s good for the players (as evidenced by the Enquiring GM’s party rushing to obtain a set), I think that it’s bad for most campaigns and for the game in general to make things so easy for the PCs. The positive virtues resulting from the presence of such a magic item are not outweighed by the negatives.

So, on the assumption that these are indeed a minor wondrous item, the only way to make the impact that they pose representative of a minor item and not something of unwarranted significance, the remainder of this answer will focus on ways of limiting the benefits that they offer to something more appropriate for a minor item. Even Comprehend Languages is restricted in duration (barely) and in effect to a literal translation.

These are all restrictions that I normally apply to Comprehend Languages in my campaigns (the alternative being to raise the level of the spell to something more appropriate), though I’ve never had to actually codify them before. They all stem from, and are exploitations of, the ‘literal translation’ restriction inherent in the spell. I call them ‘reasonable limits’.

Reasonable Limit: Dynamic Languages

Key words in the text may have changed in meaning, as demonstrated regarding the word “gay” in the English of the last century or so. The GM is quite within his rights to exploit such changes in language to mislead the party. Tone and context should be appropriate to offer the players a clue – other Victorian turns of phrase, for example, and a lack of contractions, and a slightly stiff tonal quality.

Furthermore, the GM is fully entitled to state that such-and-such a word meant something else historically within the campaign, and to use that word in a deceptive manner in this way – so long as there is a reasonable means for the PCs to grasp the significance in advance. Give them fair warning (perhaps by means of a trivial example) and then let the chips fall where they may if they ignore the warning.

Reasonable Limit: Codes and Double Meanings

The description of Comprehend Languages for 3.x states outright that it will not solve codes. Context suggests that whoever wrote the spell description didn’t know the difference between a code and a cypher (look them up on Wikipedia if you don’t, either). Taking the description literally gives the GM another weapon in his arsenal, because the best codes sound like natural speech. A phrase like “Good Morning,” could mean what it seems to mean, or it could mean “Run for your life” or it could mean “buy 1000 ale-kegs” or anything else that the parties have agreed for it to mean. So far as the spell is concerned, it just says “Good Morning”.

Reasonable Limit: Invented Languages

An extension to that argument leads us into the grey area of Invented Languages like Esperanto, where individual syllable groups mean things that are defined by the inventor of the language. The GM has to rule on this for themselves, as it could be argued either way – but my read is that an Invented Language is just another type of code, one that is more comprehensive than the less obvious ones.

While a Sage might be able to explain why the spell fails to render a comprehensible translation, all the PCs should know is that the writing they are attempting to read is beyond the limits of the spell’s power – just how much do they expect a first-level spell or minor magic item to be able to do, anyway?

Reasonable Limit: “The Ensigns Of Command”

Another limitation is made evident by this episode of Star Trek The Next Generation, in which Picard must negotiate with “The Shelliak Corporate” (my spelling may be suspect). The Shelliak refuse (or fail) to understand anything which is not phrased in corporate policy-style language, as it does not fit their psychology. Similarly, you may be able to translate it, but the arrangement of the words may make no sense because the magic item is unable to cope with the psychology of some of the more bizarre creatures in existence.

While this is not a technique that can be used all the time, it can be devastatingly effective if employed at the right time. Consider a race in which action is more important than anything else: their language structure might be verb 1, verb 2, verb 3, etc, then adjective 1, 2, and 3, and then noun 1, noun 2, noun 3, etc., then terms that link those. So “The quick brown fox jumped over the lazy dog” might translate, literally, to “Jump quick-brown lazy fox dog over”. This example phrase is so well known that it is easy to guess at the meaning – but take that advantage away, and watch the look of confusion wash over your players!

Reasonable Limit: Caster Prejudice

If the spell gets its vocabulary from the owner, there will never be a word used that he does not know, so that’s not an issue. Put that spell in a magic item and this can suddenly be a serious consideration. Mages tend to have a high intelligence, and therefore have a bigger vocabulary than others – so there is nothing to stop the magic item from providing a literal translation of “pococurante” when it means “indifferent”. While most people will know what the second word means, few would have the first within their vocabularies.

But, even beyond that, there is the question of subliminal caster prejudice. If the caster is prejudiced against Orcs, the “literal” translation of anything Orcish or relating to Orcs may well be tainted with his attitude. The instruction “be friendly” to an Orc, under this circumstance, might be translated as “pretend to friendship” or “feign friendship” or “ACT friendly”. The last is the most subtle and hence the most likely to generate trouble for the PCs!

Reasonable Limit: Emotional Nuance

And yet, at the same time, plain text rarely contains the same ability to communicate emotional nuance, and this limitation can only be enhanced when the translation is furnished by an emotionless thing. Modern languages have evolved punctuation and emoticons to convey an emotional content in a technically emotionless medium. The translations by spells and magic items should lack these crutches to comprehension, except where they explicitly alter the meaning.

That’s why the GM should never read such a translation aloud, but should provide a copy of the translated text, void of such supports, to the players, and let them punctuate where they will.

More than nine times out of ten, this will make no difference whatsoever. But on rare occasions, misplaced punctuation can completely alter the meaning of a sentence; and with a little practice, the GM can exploit this to their own ends. This can be especially, devastatingly, effective, in combination with the Caster Prejudice item above, and the Inferred Emotional Content item that follows.

Reasonable Limit: Inferred Emotional Context

Anyone who has used email for anything more than business or technical discussions can attest to the occasional misunderstanding that occurs where the reader infers an emotional context to the statement that was never intended by the author. It’s happened to just about everyone at some point. It is a natural human impulse to impart an emotional context into a void, and the most innocuous of comments can be transformed thereby into something the author can barely recognise. Sarcasm and rhetoric are the worst offenders.

If the translation technology – be it spells or magic item or supercomputer – strips emotional nuance out of the communication being translated, as was suggested earlier, then it is only natural the readers of that translated text will infer their own emotional context, guided by the few clues that remain. This can be deliberately exploited by the GM by planting a couple of emotionally-loaded terms early in the translation that are at odds with the true context of the overall message and letting the PCs make more soup out of the bones than is warranted.

Reasonable Limit: The Skill Of The Caster

When it comes to technical documents, there are three caveats that have to be within the mind of the GM. The first is that in a choice between a technical interpretation of a term of reference and a plain-language interpretation, the plain-English will always be chosen by the technology – rightly or wrongly. The second is that if the vocabulary is that of the caster of the spell, and a technical concept is beyond his understanding, it will probably be described poorly or not translated at all – in other words, if it is beyond the skills of the caster, it will not come out translated properly, one way or another. And the third is that technical concepts suffer in translation at the best of times; notoriously in the case of Asian-language operating or assembly instructions to English.

All of these problems should afflict technical documentation translated by magical or technological means, just as they would if translated any other way.

Reasonable Limit: One At A Time!

Coming to the end of the list of Reasonable Limits: the spell description for Comprehend Language in 3.x continually refers to language, singular, not languages, plural. There is no suggestion, not even a hint, that multiple languages can be translated at the same time, or even by a single casting. That might have changed with 4th ed., but everything suggests that this is an application of a First-Level Spell. Don’t expect Miracles.

Using Language to enhance your game

I hope that this discussion has pointed out a number of ways in which multilingual campaigns are, or can be, enhanced through the use of different languages, even in the face of technology or magics intended to neutralise the distinctiveness they contain. It might be suggested that the limitations proposed above are intended to make the magic item worthless, or worse than worthless. I would dispute that; the intent is to reintroduce the challenge of different languages without negating the basic utility of the magic item in question.

It might also be suggested that the above represents a counter-attack in the GM-vs-players contest that I hinted at in the section introducing the subject of The Reading Glasses. If, by that, it is meant that I am trying to keep an over-the-top magic item from being all-powerful, I would agree. The GM is the custodian of the larger campaign, and it is sometimes his job to deny the players an easy answer, no matter how much it might appeal to them in the short term.

Lastly, it might be suggested that by proposing these restrictions, I am attempting to leave room for language to enhance the campaign despite the presence of a magic item that – at face value – destroys that potential; to that charge, I would happily plead Guilty. It’s called being a good GM.

Some references that might be useful

And now, it’s over to Johnn for his take on the issue….
Ask the Game Masters - Johnn

Johnn’s answer:

Sweet Orcus, Mike, that’s an awesome and thorough answer. All I can say is this: Johnn think language gud. Johnn think language fun. Johnn think language help game.

The glasses might translate written text, but not verbal. If the item is low level, it might be common, in which case foes would take advantage instead of non-word forms of communication to get the message out to minions and others. Examples: Spoken-only – Who goes there? Flags. Smoke signals. Symbols. Maps. Puzzles. Therefore, the item is not a terrible plot foiler.

You asked why use language in your game. I encourage you to get your players speaking your fantasy languages as much as possible. Speaking other languages gets a whole different part of the brain going than the areas that calculate dice rolls, speak English, roleplay, or ponder what munchies bag to open next. Speaking new languages – fake or otherwise – literally changes the way your players think during the game. It’s a ton of fun.

I experienced this when a GM years ago had us using more and more quasi-fictional French as our PCs were in a region based on medieval France. It was fun learning, remembering and using the new words in-character. It changed the texture and ambiance of the whole game. I was surprised at its powerful effects.

For my current game I have a to-be-deployed plan of getting players to speak in the language common to Riddleport. To do that, I’ll be offering rewards and penalties. I identify two new words each game and put them on index cards clipped player-side to my GM screen. Each time a player uses one of the new words, they get a check mark. Each time they slip and use the English word, they lose three check marks. At the end of the session, the check marks earn them a bonus, if in the positive.

I’ve used this trick before when I was in Vancouver, and it’s a super way to help players learn the names for all the currencies, days of the week, months, and other pronouns. I do not know about you, but I’m tired of hearing the word gold piece in my campaigns.

Anyway, I’m off to re-read Mike’s reply as he lists a lot of techniques that I need to mull over and think about how to apply in my game.

Mike, perhaps as a follow-up post, I’d love to hear more examples of any of the techniques and ideas you’ve employed in your games. For example, how did the Drow you mentioned speak, exactly, to tip off the players? And more examples of the human vs. other race greetings in a wider variety of situations would be great. I only speak English, so when I try to roleplay another culture’s speech, I tend to either speak like a child or a pirate. Heh.
Ask the GMs - Mike

Mike’s answer continued:

Okay, Johnn, you want more? You’ve got more.

How did the Drow speak?

This required thought and practice, so be warned. There were three things that were notable about the Drow’s speech patterns.

  1. Archaisms: I carefully avoided employing contractions or other lingual shortcuts, and dropped the occasional deliberate archaism into the character’s speech. These were achieved by looking at 19th century english, especially HG Wells’ “War Of The Worlds”, and deliberately mimicking the narrative. The Right Word At The Right Time helped by mapping out the changes in modern language in that time. “Lay up your Scaramanche, cease ye and desist your violence, with despatch” instead of “Put down your weapons, stop fighting, right now!“. Since the Drow had been isolated for about a century, contemporary language had evolved, and his had not.
  2. Inappropiate Culural Attitudes: I made sure that the character didn’t care about things that a Drow wouldn’t care about, such as the mistreatment of prisoners, the fate of slaves, the opinions of subordinates, the use of excessive force, and so on, while caring too much about the wrong things, such as a fear of Clerics, care of Spiders, and so on. Initially, this came across as nothing but a somewhat exotic characterisation, but at the first hint of suspicion, the pattern became far more obvious. On the other hand, he was not afraid of things that he should have been afraid of, under the circumstances, like allegations of the use of Arcane Magic (forbidden), maintaining order, following the law, etc.
  3. Misplaced Emphasis: this is one of the most subtle of tools. Do it once and it just sounds like you have misread the prepared dialogue; do it consistanrly and repeatedly, and it starts sounding like an accent. Then make sure that no-one else has anything even close to the same accent. Keep it subtle, and you will slowly build up the impression of someone who comes from somewhere else. “Did you really think that you could evade the ever-watchful gaze of the law?” sounds quite different depending on where you place the emphasis by raising the tone of your voice – try it emphasing the first “you”, then “really”, then “think”, then “evade” and they will all sound different and suggest a different attitude on the part of the speaker, but all reasonable. Now try it emphasising “could” instead – and it just sounds wrong.

Suspicion did not flower all at once, but repeated interactions – sometimes being strict and harsh when it comes to the Laws and sometimes blase, and incorrectly given the different situations – and it creeps in, and never goes away. This was a character who would eviscerate a pet dog as punishment for disrespect, but who was perfunctory in his investigation of the violent murder of a wealthy merchant and the incineration of a grocer by local criminals, and eventually, this behaviour was connected with a chance comment by one of the players, and the pattern became suddenly obvious to everyone.

More Greetings Examples

In all cases, the objective is to give some personality or expression to the greeting. Keeping the cultural values expressed consistant, even when used by another member of the same race, makes it clear that this expression is common to the race or class or society in question.

  • “Ring the bells, summon ale, and all down tools, for Word of your coming echos through the deeps!”
  • “The insecurities of the ignorant notwithstanding, you would do well to watch your tone in my presence, for I have not fed in weeks and one or two of you would appear to be most toothsome.”
  • “Though comets may crash to the ground and mountains take to the sky like birds, you are safe here.”
  • “Seek the shaded glade within and be at peace with your place in the world for however long you dwell here.”
  • “I would strip the meat from your bones and use your flesh as carpet were you not under the protection of the Chieftan.”
  • “Surely this is a miracle to echo throughout the ages; for whoever could have foreseen that such mighty warriors would deign to abide with so lowly a worm as I?”
  • “The phases of the moon align with the shadows of destiny as the bluebells sing of your presence.”
  • “In this place, may your roots rest and drink deep of the waters of renewal.”

Add an accent to ramp them up a notch.

Roleplaying Another Culture’s Speech:

The following speeches rely on “Selected Translations From Dwarvling” which was written for the scenario that I published here as “The Floi Af Loft and Ryk Bolti”. Without that document, which you can download as a PDF from here, they won’t make much sense.

  • “Greetings, Leif unkinden Eirifkenn. You and the Ókunnur Maður Handan Frá are welcome here. Follow the passage marked by Blue Tile to reach the Höfðingi, who awaits your presence as we speak.”
  • “In the name of the Dreki Tönn, I bid you welcome, Ókunnur Maður. You are especially welcome here, Leif unkinden Eirifkenn. Welcome home… Great-Uncle.”
  • “My father — where is my father? Where is Höfðingi Eirifkenn?”

There are a couple of observations to be made about the above. As you can see, I made myself a Cheat Sheet of key translations. When I wote them for use in the scenario, I bolded all the non-english words to forewarn me of them. Where the information was important to the players understanding, I used the normal english term – hence “blue tile” and “great-uncle” and even “father” are untranslated. And lastly, I practiced a couple of times so that I could rattle them off at a normal speaking pace. Try it yourself – just pronounce things phonetically a couple of times until your tongue wraps around the strange words naturally.

I also use the same tricks when I have to deliver an accent – spell it out phonetically and emphasise. To finish, here’s an example of doing that, and a PDF of Some Key Italian Phrases:

  • Mike (Bella Lugosi voice at high speed): Qualcosa ha torto? Tutto il bagaglio dal suo volo è stato con-segnato. (English: Is something wrong? All the luggage from your flight has been delivered.) Lei parla l’italiano? Lei me capisce? C’è nessuno più bagaglio essere ispez-ionato! (English: Do you speak Italian? Do you understand me? There is no more luggage to be inspected.)
  • Mike (Bella Lugosi voice at high speed): “Ifa you luggage isa missing, you muzt report it to the lozt property officer. Room Fifve. Thisa way.”

Note that an exaggerated accent has been specified that I can immediatly call to mind and imitate (even if it’s not Italian). That makes a big difference to the pronunciation of the Italian and in keeping the “mediocre english” consistantly characterised and immediately recognisable as being the same person speaking. If I were to use a Ronald Reagan “voice”, it would sound completely different. And note that the only language I actually speak is English, Johnn – but with these tricks and techniques, I certainly don’t sound like a Pirate, or a child! They don’t let me speak Italian (and I apologise to anyone who does), but they at least let me sound like I’m speaking Italian – and it impresses the hell out of the players!

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Dungeonaday.com Sponsors Campaign Mastery


Dungeonaday.com

I love the idea of Dungeonaday.com. I use a laptop at the game table, Personal Brain software to organize my campaign, email to organize my group, and an iPad to generate content. I’m all about digital. Yet, I still have book cases filled with beloved RPG books, box sets, modules and maps. I have a large pile of books I use for my Riddleport campaign, in fact, so I like to think I enjoy the best of both worlds.

But a dungeon as a website? Awesome. Love it. Links, graphics, resources, blog, community – finally we can celebrate a dungeon together and tap into using the bennies of being digital to make it more than a series of maps and keyed encounters. Dungeonaday.com moves the progress bar towards maximum potential for dungeons and gaming. I think the idea is so good that I did a case study of it for my Gamer Lifestyle RPG publishing program.

I am thrilled that Monte and his Dungeonaday.com are sponsoring Campaign Mastery. I’m proud that he feels our content, including your comments and Ask the GM requests dear readers, is good enough to put his name beside it. Recently we celebrated 100,000 visitors, and now let’s celebrate this new friendship with the internet’s biggest dungeon.

As an active GM, I’m always looking to hone my craft. So while I had Monte’s ear about the sponsorship, I weaseled in some GM advice questions in an email interview format. Here is a polished up version of the email conversation we had:

Campaign Mastery: Dungeonaday.com releases a new room every weekday. And none are crummy empty rooms – each has extensive details and some are actually multi-room areas. What is your advice on how GMs can flesh out their dungeon designs so they do not have boring, empty areas?

Monte: I think part of the trick is defining empty. Just because a room doesn’t have a monster or trap doesn’t mean it’s empty. A big part of dungeon adventures is exploring, and all kinds of cool things can be found while exploring a dungeon that don’t involve fighting or making saves.

You might find some old inscription on a stone that contains some interesting or maybe even valuable information. You might find the skeletal remains of another adventurer. You might find the source of a stream imbued with natural magical energies. Or whatever.

Campaign Mastery: Roleplaying Tips readers recently read about creating encounter backstories so players can peel things back to discover a villain, plot or world behind a seemingly one-off encounter. Does Dungeonaday.com and its encounters have backstories? Do you have a couple tips on how to create interesting backstories?

Monte: Absolutely. Fighting a bunch of orcs can be kinda fun, but it gets old pretty fast if the orcs don’t have motives for doing what they’re doing. Likewise, it’s easier for PCs to make informed decisions if they can try to learn why there’s a bunch of rooms with weird magical effects all clustered together. Weird is good, but weird with a (weird) backstory tying it together is better.

Backstories are as simple as human nature. Don’t just think about adventure-related ideas when it comes to backstories. Romantic love, honor, family, entertainment, creativity, depression…these are the seeds of all kinds of interesting backstories.

Campaign Mastery: I am a member of Dungeonaday.com and was surprised by the variety of locations. Old schoolers will be delighted with the tesseract. There is also a mysterious island to explore and a link to another dimension. As a planes geek myself, I love dungeons that take players out of Kansas. Can you give us a few details about the dimensional link and what kind of encounters await in it? Also, got a tip or two on how to hook dungeons to other planes in interesting ways?

Monte: In the oldest of the old school dungeons, dungeons linked to and included all sorts of locations, many of which were not underground at all. I’m trying to capture that with Dungeonaday.com. In Level 7, we have a portion of the dungeon that’s slowly slipping into the Abyss because of a long-open gate. But later on in the campaign, there is an as-yet-unrevealed other gate that will send the PCs to a sort of demi-plane (I call it a half-world) where the laws of physics work a little differently.

Campaign Mastery: I could not imagine being a dungeon dweller. No internet (wi-fi must be a bitch down there), enemies on all sides, a struggle for food each day, and no good books to read. Tell us about your favourite NPC that you’ve created in Dragon’s Delve, and why they are your fave.

Monte: That’s probably going to be Erralak. He’s a new monster, an “ocular tyrant” that’s pretty similar to an old monster. The cool thing about Erralak is that he has access to this shaft that allows him to fly up and spy on many different levels of the dungeon, but there’s a magical glass that keeps him from being able to affect (or be affected by) what’s going on in the locations he spies on.

So starting with Level 1, the PCs run into this big floating orb with a lot of eyes, and they’re of course terrified. But slowly they get used to seeing him. Finally, on Level 10, they get to encounter him face to face, and he’s really tough. It’s an encounter that’s foreshadowed over and over in this strange way for 10 levels, which I think is pretty fun.

Campaign Mastery: Realism vs. imagination. I feel many Roleplaying Tips readers get writer’s block for their dungeons because they set expectations too high for realism. They aim for accurate simulation. On the other end of the spectrum, you have pure fantasy where things get unbelievable and even trite. Players disengage because it’s too weird and unbelievable. There seems to be a sweet spot where you can have fun unleashing your creativity while serving up an adventure the players can lean into and suspend belief for.

When I read Dungeonaday.com I don’t get jarred back to reality. I do not experience any walk-out-the-threatre moments. That’s awesome, especially for a megadungeon. How do you handle this balance between realism and imagination? Do you feel much pressure trying to get dungeon design right, in the simulation sense? What advice do you give to a GM staring at a blank sheet of graph paper, afraid to draw a room because of the need to make the design realistic?

Monte: I think there’s some pressure to walk that fine line between fun and realism. But for me, the simulation is part of the fun. I like to put crazy encounters into the dungeon and then figure out a halfway plausible idea for why that area of the dungeon works that way. It’s a fun, two-step creative exercise for me, actually.

So I guess my advice would be to create something that’s going to be a fun, exciting encounter first and then worry about the verisimilitude later. Players, in my experience, will give you a lot of leeway with reality if you throw them a bone now and again that seems like an explanation AND if they’re having a good time.

I think in one of my blogs on this topic found at the site I describe it this way: as long as you don’t FORCE your players into a corner where they simply can’t find your adventure plausible, giving them something that simply makes no sense or can’t possibly work the way you’ve set it up, most will go along with whatever you give them.

That’s the summary of our conversation. Some interesting nuggets in there. Thanks to Monte again, for the tips and the sponsorship.

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