Adding a Horror Element Into Any RPG

There are role-playing games (RPGs) designed to take horror as the main theme, like horror novels. Games designed around the concept that there are events and things making people jump, or squirm, or go mad. However, there are elements of horror in most stories, those we read, see, hear, and play. Elements of horror are important in storytelling because they help in creating the mood for the people experience the story as it unravels to them. A problem with many RPGs is the elements of horror aren't used, skimmed over, or, even more common, missed by the players.

The party of adventures break through the doors of the unholy shrine after fighting through the cultist minions. They are facing the evil high priest who is standing behind a sacrificial altar. Spread before the priest is a scene of gruesome proportions: blood and body parts spread out and beyond the altar—blood has splattered to the corners of the room. The iron scent from the blood mixes with the incense and charcoal burning in the five braziers set at the points of a pentagram. And, the air is full of the moans of more cultists chained to the walls on either side. The wails take on an unworldly proportion. Each moan escaping their lips comes out a black wisp moving and curling together to make a cloud above the sacrifice.

The next move is, the party attacks the priest and dispatch the chained cultists.

The element of horror designed into the encounter becomes lost on the players as they are involved in the building of the story. The goal here, therefore, is to provide a mechanic allowing players to experience some level of the horror without slowing down the action or story building taking place.

This mechanic is based on a d20 system and it can be easily translated over to other systems. It is designed to give guidance and not to be an absolute rule.

A Character's Sanity Score

The Sanity score is an independent score that is adjusted like hit points through game play. The score reflects the mental health/strength/sanity of the character at the given moment in time.

From Night of the Living Dead

Characters start with a sanity score of +4. A game master (GM) can start at a higher level if they feel the characters have a better grip on events. The basic of the discussions held on the starting points is summed up here.

The argument for higher scores is that adventuring characters are subject to the horrors of adventuring so they are not as easily affected.

My argument for a lower starting number is most characters are not used to seeing these types of horrors. Further, in the discussions I noticed the argument was based more on what the players and GMs noted they had heard and faced over years of gaming from the viewpoints of different characters. Descriptions are given in adventures, but the full impact of the visual, odor, feeling of the scene is not as easily represented when players are focusing on the strategic elements of the upcoming battle.

As characters advance, their sanity score increases by 1d4 per level. This reflects the increasing mental fortitude of the character as they have become exposed to more horrific events and scenes. This combined total is the maximum sanity of the character. More on this when talking about recovery of sanity.

Creating a Horror Rating

Encounters are given a horror rating by the GM. This is purely a subjective number. At first, I put together some guidelines for how to score this rating. But, after discussions, it was easy to see each GM had a different concept of what they classify as horrific for the campaign they were running. For example, orcs are raised to a different level of brutality than merchants in colonial America. This also allows for the use of a lower starting number of points because the GM can moderate the horror rating of the encounters

Not every encounter needs a horror rating. When running an adventure and the scene is fitting to the campaign, the characters would probably not consider it to be horrific. Placing a slaughter house in an adventure would have very different impacts on characters from different eras.

Exposure to more horrific scenes will always have an impact on a character. This means any horror rating of 15 or greater will always have some effect on a character. Whereas, lesser scores may not.

Sanity Score Versus the Horror Rating

From Nosferatu

If the horror rating is equal to or less than the character's current sanity score, there is no affect. The character is mentally strong/sane enough to deal with the encounter. If the horror score is greater than the character's current sanity score, a check is required. Roll a d20 and add the sanity score to the roll to determine if there is an affect. When the combined total is equal to or greater than the horror rating, there is no affect. Otherwise, the character loses 1 point to their sanity score.

Any encounter that has a horror check of 15 or more always takes 1 sanity point from the character when they succeed a check, or 2 if the check fails.

If a player rolls a 1 on the d20 it is an automatic failure.

Example

The party rushes into the room encountering the evil priest amidst a sacrifice. The GM has decided the mixture of sight, sounds, and odors are enough to warrant a horror rating of 20.

Diane, playing a fighter, has a current sanity score of +25. The scene shakes her up a little, but because her sanity score is higher than the rating, she doesn't need to make a check. She loses 1 point and her sanity score is now +24.

Bob, playing a wizard, has a current sanity score of +16. He makes a check. The d20 rolls a 15. The 16 is added to the 15 for a total of 31, success. But, since the scene is so horrific his sanity score still goes down by 1 point to +15.

Dave's character comes into the room with a sanity score of +15, and he rolls a 4. Dave missed the check. He loses 2 point (1 for missing and 1 for the scene being above a 15) and his score adjusts to +13.

What This Does for the Players

This is not an absolute rule, or table to check against, telling players what is happening to their character and how to play them. It is provided as a guideline: a score to help them stay in the storyline with what the characters are encountering.

Film festival of fantasy, sci-fi, and horror

Consider any positive score as maintaining a sane state of being. The higher the score the more grounded the character is in their reality. The closer to zero the score gets the less stable they are becoming. The stresses of adventuring is slowly and steadily wearing their mental state down.

If a character reaches zero on their sanity score, their mentally state is in question. The further in the minus they go the worse they become. At -10 they are insane, which can only be cured magically, or through serious therapy.

Each player decides for their character how the character reacts. This might sound a little loose, but everyone responds differently. One person might develop a phobia, while another might do the opposite and embrace what they are seeing. Character quirks and flaws can develop over long or short term. They might go quieter, hoping to hide away from more encounters, or get louder. Giving the players the liberty to develop how they play allows the character's individual "sanity" to play a part. In playtesting one player started using it to argue for the group to turn back, even though most everyone else had been unaffected by what they had encountered.

Regaining Lost Sanity

Regaining points to a character's sanity score requires the character to spend time doing something to get balance back in their life.

Personal activity can be done to restore a sense of well-being, or balance. Exercises (like yoga, mental exercises, performing kata, martial training) or mediations (spending time in a comforting surrounding) or common forms dealing with stress. The surrounding would be a place the character is comfortable. This provides 1 point over 4 days of rest or activity where a least 2 hours a day are spent on the activity. This type of activity is individualized. What some people find relaxing others don't. The idea is to have the characters take some down time, relax, and deal with some of the stress they have been living through.

Counseling can be done in a group, or individually with a trained counselor. Counseling sessions are at least 1 hour in 1 day. And, a character needs 2 sessions (2 days of counseling) to regain 1 point. This is with a group, or counselor, who understands that what the character is seeing is in fact real. If the group or counselor don't believe the character, then the number of days is doubled (same as doing it on your own, but with less time each day).

Some activities can combine the personal and group activity and the best of the combination would help restore a person.

A recent horror read (review)

When dealing in magical settings, clerics could be used as counselors and spells can be used to restore sanity. This can be done along the same lines as curing wounds with spells designed to help the mental state instead of the physical (i.e., Cure Light Mental Infliction, Calm Nerves).

This sanity score works in different settings equally well and can be easily added in at any time. Along with the player who was trying to talk the party to retreat from possible more encounters, another play-tester used their misses as a guide to how they responded in the encounter. Both players used the score in different ways to enhance their role-playing.

The party advances into the room. The fighter charges forward letting out a war cry of her Amazonian tribe. The wizard steps to the side of the doorway and starts casting a spell targeting the evil priest. The cleric enters and stumbles a little from the scene. While the cleric gathers himself to focus on the gathering dark mass above the altar the thief pushes around him. The smell rocks him back on his heels for just a moment and he stuffs a cloth in his mouth to breathe through as he moves towards the cultists on the right wall.

Originally published on Stuffer Shack.

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Another Look at Alignment: Perspective to World Views

People celebrating the KC Royals championship

Last week I wrote about alignmentbecause of a discussion I had. That article led to a further discussion about alignment. One that looked at alignment from a different perspective—alignment with world views. This is how we align our views to greater social movements. They can be political, religious, economic, racial, and a number of other areas of thought, or combinations of them.

One of the other definitions for alignment per dictionary.com is: state of agreement or cooperation among persons, groups, nations, etc., with a common cause or viewpoint. This definition applies well to this discussion. And, this is the type of alignment (except for car tires) that most people are used to, even if they don't know it by this name. However, this is a harder form of alignment for most people to bring into the playing of their characters.

Instead of delving into what this alignment is, this discussion is more to how this alignment could be used in a role-playing game (RPG). There are many great opportunities in RPGs to use alignments to a groups beliefs, but it takes more effort on the part of the player, and the game master (GM). Some of the work is done by some of the systems out there, and they provide a basis that can be drawn on for those that don't.

Many games require a level of alignment just to play the game. Star Wars Age of Rebellion by its title alone tells you where you lie in the conflict and where the characters are aligned in the war. Other, present easily recognized uniforms for the characters to wear, for instance laying a roman centurion or a star fleet officer. In these styles of games the alignment of the character is easily apparent for the players and for the GM.

Other games make it easy for some characters, and not for others. In many fantasy games you will see the holy people, at least the ones who are in good standing in the society, will wear their symbols of faith openly. Those who belong to the underground organizations might have a symbol that other members of their organization recognize, but they work to make sure the ruling authorities don't catch sight of it.

The reason for this alignment to an organization or a generally accepted thought is to gain favor from those who are like minded. By sharing the common belief, the common goal, the same desires for the future of their group the members are willing to help those who support them. Some games build on this support system strongly while others may not have much involvement.

U.S. military in uniform

Games that have the characters working as some level of agent for an organization immediately come to mind. Military, spies, or even agents for the museum may be given the supplies they need from their patron organization. I am even running a paranormal campaign that uses this as a basis, the characters don't have to worry about supplies from adventure to adventure; they just have to decide on what equipment they are requisitioning for that assignment. For some players this is a great benefit to have a quarter master who takes care of those issues for them. The easy to recognize agents also become easier targets.

The captain of the ship from the empire is in her uniform and the rebels, underprivileged, and general malcontents all recognize her for what she represents. Adventures of this nature don't have to be tied to a specific character as the character represents something greater. I talked with a couple of GMs that use this hook on a regular basis for their campaigns, but they admitted the party has always been on the side of the rebels. Having the easy to recognize symbol works well. But there are those who are hiding their allegiances.

I have played in RPGs that use reputation as a way of giving character recognition. This is not quite the same as alignment to a group, but some of the ideas used can be easily applied. The idea they usually use for reputation is that the more you do the more people know about it, this can be done to become famous or infamous. The reaction of others is based on the characters reputation. This level of reputation builds on the general sense of the society. This general level can then be easily applied to another level.

Instead of applying a general level of reputation you can apply a level of reputation within the organization you are aligned with. Using a system you are familiar with, or a simple scale, you can create a level of general recognition for a character to those who are similarly aligned, and opposed.

Using a simple scale could be a range like -10 to +10. Whenever a character shows themselves to be aligned with a particular group you could have a chance of their recognition level adjusting. This recognition could then be played into the gaming session. My thoughts here are using a d20 base which can apply to a number of systems, or easily adapted.

With a d20 system you could easily add in a character's, or a non-player character's, level of familiarity with an organization. If your game has skills like local knowledge, they could provide a bonus. A check is made, and, if the difficulty of recognition is achieved, then an appropriate reaction to the character's association can be made. I am sure many of you are reading this and coming up with adjustments you can use in your own game.

This level of alignment can add an additional level to many games. The reputation of the adventuring group, mercantile house, organization of bounty hunters, along with the more traditional means presented can add small twists to your game, or create encounters or adventures for the characters.

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http://guildmastergaming.blogspot.com/2016/12/cultural-backstorypositions-of.html

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Alignments in RPG, Almost a Constant Conversation

Found on Deviant Art

In role-playing games (RPGs) some topics keep making the rounds. The use of alignments for characters is one of those areas of discussion that keeps coming back into gaming circles. Alignments are used in many game systems and not in others. For some people there is a legitimate reason for using alignments and for others there isn't. Over the many years of my gaming career I don't know how many times I have been in discussions about the use of alignments and whether or not they should be used. But, I was recently asked again about their use and where I stood on the issue.

I have used alignments when creating some games and completely ignored them in others. Their use is one of those rules I believe can be ignored when they become a hindrance to the playing of a character. At the same time I have used them, and seen others use them, as a great way of providing a guideline to how a character would react to a situation. This is all because the main thing is to understand what alignment is.

Dictionary.com has one definition of alignment of "a state of agreement or cooperation among persons, groups, nations, etc., with a common cause or viewpoint." This definition touches on some of the ideas of alignment in gaming, but not really enough to give a full understanding of what it means. For discussion, I am going to define alignment as the following.

Alignment: the basic underlying parameters of a character defining their moral standing.

This means a characters alignment is a guideline to how the character views the world and how they fit into it. The earliest versions of gaming worked more with Michael Moorcock's writings and where focused on law versus chaos. Shortly thereafter there was the introduction of good and evil. Dungeons and Dragons combined the two into a nine-point matrix back in the 1970s which has become a standard most gamers are familiar with. I have seen variations on the matrix, some going back to the simpler three-point scale of chaos to law, or good to evil. I have also seen a variation that expanded it to a 16-point matrix and a 25-point matrix. And, as mentioned earlier many games don't use alignments.

It can be argued that people, real world people, have and don't have alignments. You can go out and find personality tests that will direct you to your alignment. At the same time, how you respond to once situation might point you as being a lawful good person, then another will point you at being chaotic good and another situation has you as being neutral evil. Real life alignments are fluid to the time, situation, and experiences. We each have what we were taught growing up, or own interpretation of morals and ethics, which creates our underlying parameters defining our moral standards. And my moral definitions of life is going to be different than yours, which will be different than another person's.

We find commonality in groups and with issues, but life itself is a complex mashup. I am sure every one of us has faced a situation that all of our experience tells us we should be do a certain action that doesn't fit the current needs. This is not that our moral code is broken, it is that there is a higher level of complexity.

Now let us bring that back into the gaming scenarios we all like to play.

One of the biggest arguments I have heard against the use of alignments is that paladins in Dungeons and Dragons are not lawful stupid. I have seen paladins played with such a strong code of ethics that they do stupid actions because to do otherwise would break their alignment. The interesting part of when this happens is usually when another player at the table tell the one playing the paladin how to play their character. There are many ways a person can play a lawful good character and not break from the alignment. It comes down to how they have defined the alignment.

Every person, and thus every character, has an underlying story that guides them through their actions. A part of that backstory defines their alignment. Charlemagneis one major historical example many like to use for defining a paladin, but there were other holy knights, such as Arthur and the Knights of the Round Table. It could be easily argued that every knight sitting with Arthur was a Paladin. Each was different. Each had variations to their moral code. Each could be argued to be lawful good. It comes down to the code of conduct that each observed.

This can easily apply to RPGs. Think of an alignment as the code of conduct your character has. One good working example of this is many games that are point based have one skill/advantage/disadvantage of an honor code, or code of conduct. Most of these games, like GURPS, lists this as a disadvantage because it is designed to limit the character on the action they will take. Examples include the code of chivalry, not attacking law enforcement, not hurting pets. It can also go in other directions such as when a crime is discovered enforcement must be swift and immediate. Would that be good or evil? Most players define these codes without realizing it.

Another found on Deviant Art

Players make determinations of how their character act in a situation. This is usually based on past and present conditions, the backstory and the current story. Alignments are part of both, but are brought forth from the backstory. They are a guideline that helps the player in determining the actions of the character. The big word there is guideline. The history of experience will play a part in the current action chosen, but it doesn't have to be the absolute defining limiting factor of what happens in the moment. Let's return to our paladins (because they are easy to pick on).

The paladin is confronting the evil lord who the party has turned over to the kingdom's authorities before. The evil lord was sent to prison and there has been no word that he escaped. Based on earlier events in this adventure is can be surmised that he is receiving help at the prison and being allowed to come and go as he pleases. In a sense he is in control of his fate at the facility, and not the warden. I can see the player with the paladin could easily remain in his alignment by capturing the lord, again, or fighting till the death of the evil lord. Others I have presented this scenario to have said they would cause the Paladin to lose his status if they killed the evil one instead of taking him into custody. I think this plays out like the climax in Men in Black III (sorry if that is a spoiler).

Straight up I would say to use alignments if they help you understand the playing of the character, or if they are an essential part of the game you are playing. If you are not playing a system using alignments you might want to consider, if you are not already doing it, of defining your character's view of the world. Knowing how the character sees the world and how they feel they fit into it can provide some great role-playing. This also works when creating non-player characters.

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Kessla, Human Smuggler Lieutenant (rogue 7, using the D&D 3.5 core books)

Women Pirates of History

Kessla is a fair looking young woman in her early twenties who demands a certain level of attention from those who know her. She doesn't demand they pay attention to her, but the people know it is a wise thing to do. Her knowledge of The Wharf, surrounding city, and contacts makes her a valuable asset to work with, and her skills can make her a deadly adversary. The person who benefits most from this is the man Darrick, who she is totally loyal to.

Kessla grew up on the edge of the Wharf district near the slums of the Grotto. It was, and is, a rough area where few people really never escape from. Life is short and hard in those neighborhoods and working at a young age is required to survive. Kessla was smaller than most of the other girls which limited choices of how to make a few coins. She chose what she thought was the lesser risk to her health and life by being a courier for the smugglers. It turned out many times that her size became an advantage.

Over the years of carrying packages, all over the city, Kessla found additional side jobs allowing her to make money doing something else on her return trips back to the wharf. She also was learning the art of thievery which helped her in many different ways. She has developed her own network of buyers for the goods she can sell, both legal and illegal.

Several years ago Kessla met Darrickin a chance encounter. They were both rather new to working directly with the smugglers, they had both been package carriers. There was something about the young man that made her swoon. Over the years she positioned herself to be working with him more and more in the hopes he would notice her. She admits to herself she is not sure if she is in love with the man or with the power and leadership he represents to her. And, when she thinks deeper about it, she really doesn't care. She is away from the Grotto and life is exciting. He did notice her and they have a relationship. Kessla is not sure how devoted Darrick is to her and she chooses not to think about that. She has decided to throw in with him as he is building his own network because she is in love with him and they have been successful in what they have been doing.

Now she is in a position of authority heading up the shore crew of Darrick's operations. She knows he is a determined leader who has plans. She also understands the guild better than he does and has kept him in check in moving against its leadership. She knows the guild is still a great source of influence, and protection for them. However, she knows eventually Darrick will either challenge for a position of leadership or will need to strike out on his own and she is preparing herself, her love, and her crew for either option. She does this not only for the love of the man, but because she knows that if he moves to early she will lose him, and most likely be killed in the process.

Anne Bonny and Mary Read

Kessla's devotion goes both to her love, and to those who work on her team. They are all following Darrick, but she knows the safety of those she is working with many times has come down to her own abilities. She takes the role of leading the shore crew seriously and requires those she works with to have the same level of dedication to getting the job done, and done right. The entire group, shore crew along with the boat crew, is tight and well-disciplined. She knows the members of their group hold in a level of respect and fear, and leaves it at that.

Their success has been noted by the smugglers' guild. So far their activities have been monitored and allowed. Darrick and Kessla have always included the guild in on the profits and they are making good money for them. The position the couple has put themselves in would allow for the guild to easily turn away from them if they get caught by the wrong officials. Or, if the need arises they could be caught by the right ones.

Kessla, Human Smuggler Lieutenant (rogue 7, using the D&D 3.5 core books)

Str 10, Dex 14, Con 11, Int 16, Wis 08, Chr 13

Alignment: Lawful Neutral

HP 25

Age: 23

Initiative: +2

AC 16 (masterwork studded leather, ring of protection +1, dex +2)

Attack base +5

Melee Attack +6 dagger +1 (1d4+1/19x2)

Ranged Attack +8 light crossbow +1 (d8+1/19x2)

Fort +2, Reflex +7, Will +1

Space/reach: 5'/5'

Speed: 30'

Feats (4): Alertness, evasion, improved initiative, skill focus (Knowledge, local—the city), sneak attack +4d6, stealthy, trap sense +2, trapfinding, uncanny dodge  

Skills (120): Appraise +8 (5), balance +9 (5), bluff +11 (10), climb +5 (5), diplomacy +10 (5), forgery +7 (5), gather information +13 (10), hide +12 (10), jump +7 (5), Knowledge local (the city) +16 (10), listen +6 (5), move silently +12 (10), search +8 (5), sense motive +9 (10), sleight of hand +14 (10), spot +6 (5), tumble +9 (5)

Languages: Common

Magic: Ring +1, dagger +1, light crossbow +1, potion cure moderate wounds

Special mundane items: at her home

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Darrick, Human Smuggler (EL 11/D&D 3.5 Core Books)

The Wharf District of the city is a place that is full of heart and fist. The water's edge is where families have lived for generations from the sea by collecting from its bounty and by sailing over its waves. Both styles of lives are made easier when the brotherhood of those toiling for the same reason pull together. The sailors help each other and the families of those who have gone on the long voyages to other lands, or to other lives. The fishermen do the same. The heart, the soul, of the community is strong. However, there are those who use the cover of the brotherhoods to create their own positions of power.

Darrick grew up in the district and eventually inherited his family's fishing boat. But unlike his father, mother, or sisters, he wanted more out of life than just having a family and a place to live. Darrick wanted the wealth he saw others had. And he made a vow to himself as a boy that he would be rich. This has always been Darrick's dream, and also his nightmare.

Still very young Darrick found he could earn extra money by delivering packages for some of the sailors that came to shore. The men would always tell him how busy they were and how he could make a few extra coin by running the errand. The boy was happy to do so. The extra money allowed him to buy things he wanted that his parents couldn't afford. And, once in a while, he would even share some of his earnings with his family when times were harder than usual.

Eventually Darrick learned he was delivering illegal goods for smugglers. For him it didn't really matter because he liked the weight of the metal in his purse. His pursuits put him at odds with his family a number of times until in his later teenage years he came up with a plan. Darrick knew how to fish from a young age. He was the only son of the family, and the youngest of five, and was expected to take over the family business.  His parents were getting older and his father's health made it harder for him to go cast the nets. Darrick stepped in to help.

Roche Braziliano

The plan was quite simple and became easier as his parents health deteriorated and died. Darrick would go fishing, and while out would collect the goods at sea and bring them into shore. He was never considered a good fisherman, so his low catches were usually expected. Usually he brings in only a token amount of fish to hide his true enterprise.

Darrick's sisters are all involved with their own families and the fisherman community and have little contact with their brother, Darrick prefers it that way. What he doesn't fully understand is that they, along with many members of the community know what he is doing. They are afraid to act because they know the level of control the smugglers have over parts of the community. So, as long as they are "ignorant" of what is happening they are safe. In fact, many believe the smugglers poisoned Darrick's parents to get a stronger grip on the young man.

Over the past couple of years since his parent's deaths Darrick has come to realize that his life is not as good as he thought it would be. He has heard the rumors of the deaths of his family and started watching the leaders of the smugglers he has been working with. He is fairly certain the rumors are true, and now he is in a position that he must keep doing what he is doing or end up in the same dark soil. Instead of trying to change what he is doing he is working on how to gain more control within the smugglers.

Darrick has changed the way he spends his money. Instead of just spending it on enjoyment like he used to he had a new boat built and has been having items created for him and his loyal team of deck hands. There are three on his deck crew and four on his shore crew. The shore crew is led by Shadilla, who is a 7^th level rogue, the rest are 1^st level rogues.

For some watching the man's rise in the Wharf District, it is believed eventually there will be a shift in power. Either by fracture or by change of leadership.

Sir Francis Drake

Darrick, Human Smuggler (EL 11)

Level 4/7 fighter/rogue (using the D&D 3.5 core books)

Str 14, Dex 14, Con 12, Int 11, Wis 10, Chr 15

Alignment: Neutral Evil

Age: 26

HP 76

Initiative: +6

AC 16 (studded leather +1, dex +2)

Attack base +9/+4

Melee Attack (single handed) +12/+7, dagger+1 (1d4+3/19x2)

Melee Attack (double handed) +10/+5, dagger+1 and masterwork dagger (main hand 1d4+3/19x2 off hand 1d4+1/19x2)

Ranged Attack +12/+7 masterwork shortbow (d6/20x3)

Fort +7, Reflex +8, Will +2

Space/reach: 5'/5'

Speed: 30'

Feats (8): Alertness, cleave, evasion, improved bull rush, improved initiative, leadership, persuasive, power attack, sneak attack +4d6, trap sense +2, trapfinding, two weapon fighting, uncanny dodge  

Skills (118): Appraise +10 (10), balance +6 (4), bluff +16 (12), climb +4 (2), diplomacy +8 (2), disable devise +2 (2), disguise +6 (2), forgery +2 (2), gather information +12 (+14 in the Wharf) (10), hide +12 (10), intimidate +10 (4), jump +4 (2), knowledge (local—Wharf District) +10 (10), listen +6 (4), move silently +4 (2), sense motive +12 (12), sleight of hand +8 (4), spot +12 (10), tumble +4 (2), use magic device +12 (10), use rope +4 (2)

Languages: Common

Magic: Dagger +1, studded leather +1, cloak of the manta ray

               Potions: Blur, bull's strength, cure serious wounds, darkvision (2), displacement, remove disease, remove paralysis

               Scrolls: Three Arcane Scrolls: scroll 1: 2, 3^rd level spells clairaudience/clairvoyance, fireball; scroll 2 3 spells, 2 3^rd and 1 4^th, 3-deep slumber, invisibility sphere; 4-freedom of movement; third scroll, 1 2^ndlevel-bull's strength.

Special mundane items: Extra items for his followers, on his boat, and at his home

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Captain Emmanuel "Em" Hasworth of the Sea Angel (Human expert/fighter Level 2/8 D&D 3.5 core books)

Captain Emmanuel Hasworth has made his living on ships since he was a boy. He started out as a cabin boy because he came from an established family that could get him placed. He understood he was in a position of privilege and what that would mean for him later in life. However, he never felt like he was really all that far above the sailors working the deck.

As he grew in stature and position Em remembered his early lessons of place. Working to build trust between him and his officers and crew has led to developing a code of conduct he applies to himself and those serve on his ship. This means he maintains a regime of caring and training for himself and his crew.

Captain Hasworth's ships have always been some of the best run ships with few disciplinary problems. This doesn't mean that there hasn't been any, but Hasworth has a well-seasoned crew and new hands are added expectations are clearly laid out from the beginning, and the consequences are also clear. He promotes training for all levels of his crew. The training even goes beyond how to raise a sail. This has led to some of his hands finding new positions in port, which in turn has led to better support for Hasworth and his other officers. For many this means that he is Captain Emmanuel Hasworth even when he is not on his ship.

Hasworth maintains his looks to be the captain whenever he may be viewed by one of his crew, or extended crew. This means he is rarely seen out of uniform (which includes his studded leather armor) or allow himself to be seen ruffled by a situation. He keeps himself groomed and his manner is almost always under control. It is like the man is never surprised by the situation he is in.

He is known to have friendly commentary with his crew. He respects and utilizes their knowledge, but still requires protocol to maintain discipline. This same level of personal discipline is also maintained when not on his ship. He may visit a tavern with his crew, but he would never allow himself to even become tipsy in their company.

Captain Hasworth is in his mid-fifties and is still fit. His skin is weathered from the years of being at sea, but his blue eyes shine out from under his brown and gray hair with an intense, but friendly, look. He is of average weight and works at maintaining himself. He is even known to train and teach in fighting techniques at The Flesh Golem when the ship is in port.

His wife, Clair, maintains a house in the city. They have four married daughters. And even though Em can tell you what his last manifest contained he usually has a hard time remembering how many grandchildren he now has. Clair prompted her husband to name his new ship the Sea Angel (which was approved by the merchant house he works for) as a tribute to Elinoire Whitewash because of the help she provides to sailors and their families. The Hasworths have also made contributions to maintaining the fellowship house.

Emmanuel "Em" Hasworth (Human expert/fighter Level 2/8 D&D 3.5 core books)

Str 14, Dex 12, Con 12, Int 14, Wis 16, Chr 16

Alignment: Lawful Neutral

HP 83

Initiative: +1

AC 17 (22 with combat expertise) (studded leather +2, masterwork light wooden shield, dex +1)

Attack base +9/+4

Melee Attack +13/+8 (+8/+3 with combat expertise) (longsword +1 d8+5/17x2)

Ranged Attack +11/+6 (composite strength (+2) longbow +1 d8+2/20x3)

Fort +7, Reflex +3, Will +8

Feats (10): Alertness, combat expertise, greater weapon focus, improved bull rush, improved critical (longsword), leadership, power attack, skill focus (captain), weapon focus, weapon specialization

Skills (83) (#denotes skills from expert class): #balance +4 (3), #climb +7 (5), #diplomacy +14 (5/8cc), intimidate +8 (5), #jump +7 (5), knowledge (nature) +4 (4cc), #listen +10 (5), #profession (sailor) +8 (5), #profession (pilot) +8 (5), profession +11 (captain) (10 cc), #sense motive +12 (5/8cc), #spot +10 (5), swim +4 (2), #use rope +4 (3)

Languages: Common

Magic: ring of sustenance, studded leather +2, longsword +1, composite strength (+2) longbow +1, several potions

Other mundane items: as fitting the campaign

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Andhol (Human Expert (Sailor-Retired)/Bard Level 3/6 D&D 3.5 Core Books)

Portrait by L. Agard

Many consider Andhol a permanent fixture down in the Wharf District. He lived on ships for many years before his bad leg made him less and less a candidate to sign on to a ship. Finally he took up residence in a flop house near the wharf and spends his day here doing what he can to make ends meet. He is easily recognized by those who know him.

Andhol has black hair streaked with a lot of gray that he keeps pulled back in a ponytail. His hair hangs down about halfway down his back. He keeps his beard trimmed and always has clean clothes. He walks with a limp because of a stiff leg, so he uses a walking stick that is also considered a way of recognizing him.

Andhol has been living in port because his left leg was damaged during a sea battle and it doesn't bend at the knee anymore. He walks with a bone walking stick that is covered in scrimshaw. It is the only item of any value that he keeps, and he keeps it with him.

Even though he lives in port, Andhol true home is the sea. He has spent more on the water than on the shore. During those earlier years he usually worked as the ship's striker. On occasion he still gets the opportunity to go on short voyages with some of the captains who know him. During his younger days his travels took him many places. Along with the ports of other kingdoms, city, and towns he has visited islands and secreted bays where a ship could make anchorage. His knowledge of the areas up and down the coast still earns him a living from captains and adventures who seek him out along the wharf, or at the friendship house, The Tangled Rigging.

He spends a lot of time at The Rigging, especially when the weather is bad. He is welcomed at the fellowship house. He shares his stories with those who want to listen. He also is willing to hear the stories of those who are in port. Many of the sailors who know Andhol share news with him and he in turn shares the latest news with them. Because of this his knowledge stays current.

When those who doesn't know are looking for information he is happy to help, but a man still has to eat. He doesn't charge a lot, because he doesn't need a lot. And, anymore he doesn't want a lot. He is known to give the extra money he has to the fellowship house so they can help others. At other times when he is short of coin there is always a place he can get a hot meal. He has never spent a night in the friendship house because he has a room.

A short distance from The Tangled Rigging, as you move into a part of the city that is not as nice, is a place known simply as Brown's House. Rooms rent cheaply and Andhol has one that is always paid up. He doesn't keep anything of value there.

Ancient Chinese bone walking stick with scrimshaw

Andhol's walking stick looks like a well done piece of folk art, which it is. It is also magical. His walking stick is a Storytelling Stick. The magical stick has the ability to store knowledge.

Storytelling Stick: This stick helps everyone in one area of knowledge by granting a +3 skill bonus. The area of knowledge is determined at the time of creation (Adhol's stick is geography). When possessed by a bard there is an additional benefit of performance/oratory. An additional +3 competence bonus is granted to the character when relating stories. Faint transmutation; CL 6; Craft Wondrous Item, inspire competence; Price 6,500 gp; Weight 2 lbs.

Andhol (Human expert (sailor)/bard Level 3/6 D&D 3.5 core books)

Str 8, Dex 10, Con 10, Int 14, Wis 10, Chr 18

Alignment: Chaotic Good

HP 33

Initiative: +0

AC 10

Attack base +6

Melee Attack +5/+0 (dagger d4/19x2)

Ranged Attack +6/+1 (dagger d4/19x2)

Fort +3, Reflex +6, Will +8

Feats (5): Alertness, self –sufficient, kill focus (perform), skill focus (survival), track

Class Features: Bardic music, bardic knowledge, countersong, fascinate, inspire competence, inspire courage +1, suggestion

Skills (54/54) (#denotes Expert Skills): #Balance +8 (8), #climb +4 (5), #gather information +16 (12), #jump +4 (5), #knowledge (geography) +17 (12), knowledge (history) +12 (10), knowledge (local) +12 (10), listen +7 (5), perform (oratory) +22 (12), #profession (sailor) +5 (5), #search +8 (6), #spot +9 (7), #survival +11 (6), #use rope +5 (5)

Languages: Common

Bardic Spells Known (6/4/3):

               0 level: Detect magic, light, mending, message, prestidigitation, read magic.

               1^st level: Alarm, comprehend languages, cure light wounds, expeditious retreat,

               2^nd level: blur, sound burst, tongues

Magic: Storytelling Stick

Special mundane items: none.

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Starting Character, Modern Day Mash-up of Cthulhu, MHI, X-Files, and Dresden using Savage Worlds

Here is a character for a modern day set of adventures where monsters and magic exist (a low scale Cthulhu crossed with information drawn from Monster Hunters International (MHI), Dresden Files, and X-Files). The game is starting out with the players being recruited to work for a government agency.

The characters know they are being asked to investigative cases that other parts of the agency are not working on due to the cases sensitive nature. They are being recruited for the different skills that are not traditional law enforcement, but include skills to create an investigation unit to solve crimes that may not always involve the need of traditional force.

The players have the additional information the supernatural exists. The cases being investigated are sensitive because the investigators need to protect on two levels: protect the populace from the "whatever" and to protect the populace from knowledge of the "whatever." Characters are being built with skills specializing in one area or the other, or both.

The characters may have some knowledge of the supernatural, or not. However, no character is able to start with any capabilities in magic (this may be a possibility as the game proceeds and the characters gain levels).

We will be using the Savage Worlds system for this set of games.

There will be more in later articles, but it will take some time because timing on these articles needs to be worked out with articles scheduled for release in Utah Geek Magazine.

Keynadiid (Ken) Gobey, (current occupation—reporter)

Ken is a refugee from Somalia. He came to the United States while he was in high school and struggled in his new home. His English was poorly spoken and he couldn't read and write. He taught himself English by watching television and reading the newspapers and magazines available at the refugee center. He not only learned the language but learned skills of writing news articles.

Ken has been working for paper of a mid-sized city for several years. He has done well in his career as a reporter, starting out at a very small paper and advancing through a couple of others to get to his current position. Here he has worked in several departments and is being considered for an editor position.

Ken enjoys investigative reporting, but understands those positions (like the Spotlight group) are hard to come by, so he has focused on just being a good reporter with every assignment he gets. He has become known as a team player by giving leads to reporters in other departments instead of trying to take every story that comes along.

Currently he is assigned to cover county politics. This has been enjoyable because it allows him to work with people assigned to city and state. The position has also allowed him to be in both the city and the more rural parts of the county.

Abilities

Agility d4, Smarts d10, Spirit d6, Strength d4, Vigor d6

Derived Attributes

Pace 6", Parry 2, Charisma 0, Toughness 5

Skills

Fighting d4, Investigation d6, Knowledge (history) d4, Knowledge (politics) d6, Knowledge (journalism) d6, Notice d8, Streetwise d6

Part of my inspiration for the character

Hindrances

Curious (major), Habit (minor)—tries to listen to other people's conversations

Edge

Alertness (+2 to Notice)

Players were informed not to buy equipment because it would be provided as part of the storyline of the game.

If you have any comments, questions, or critiques please leave a comment here, or send an email to guildmastergaming@gmail.com.

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NPC Druid for the Machiavellian Campaign (D&D 3.5)

Gardener from an illuminated manuscript

Here is a character I am using to set up an adventure in our Machiavellian campaign (one of the early articles). He can also play a part in starting adventures in just about any campaign setting since he is looking for something to invest his small amount of money into and has been researching what he wants to do with it.

Jahan, 2nd level half-elf druid (built in D&D 3.5 using just the core books)

Jahan never felt comfortable in the city, but needing to help his mother has kept him in there. While growing up he was accepted by most of the other children, for the most part. Being a half-elf meant he was almost always kept on the fringe of the group. Jahan was able to get along with the other children in the area, he just had different interests. This was even further aggravated with the fact that he has never known who is father, an elf, is or was. The only thing his mother has ever said about Jahan's father is that he was a good person and that Jahan should be proud of his heritage.

Beyond his life, Jahan only knows some of his matriarchal history, and that's only the stories his mother told him as a child. He knows they were not originally from the city, but came here to start over as a new mother with a half-elf son. At different times in his life he created stories, but living in the lower districts of the city gave them no credibility. Eventually Jahan spent more time with the stray animals around and working in a few small potted gardens to provide extra food for his mother and himself.

Grocer wagon from dreamtime.com

Jahan learned how to make plants grow better and became more in tune with nature. With his ability of growing plants, he started growing them wherever he could. Some were taken and eaten by others, but he was providing more food for himself and this led to him and his mother being able to start to save a few copper pieces.

Jahan and his mother used the money to get her better clothes which led to her being able to get a better job working in a kitchen in a small estate near the edge of the city. After she was there for a short while she talked with the cook about her son's ability with plants and he was brought to the estate to work in the garden. The garden began to do better than it had ever done before. The owner of the estate had been watching the young man and gave him the opportunity to do more.

Jahan took over another plot of garden to provide for the master's family. He was also given the privilege of being able to sell the extra he grew in the local market. Jahan has done well at this and has been again been earning extra money, but quicker than he was doing before.

Along with working in the garden Jahan also has some time to go foraging in the areas just outside of the city. The foraging trips have helped him learn about the plants nearby and he is also nurturing certain locations to grow more and better plants he supplements the garden and his sales.

Gardening at the estate has made Jahan happier, but he wants to do more for his mother and for himself. He is looking for a way to invest his money, it is still quite a small amount, into something that would allow him to leverage it into something bigger. He is very cautious though. He has been researching about plants and has decided to invest in some way with what he knows instead of giving his money over to another person to invest it for him.

Str 11, Dex 11, Con 12, Int 14, Wis 15, Chr 12

Alignment: Neutral

From Medieval-Recipes.com

HP 14

AC 10

Attack base +1

Fort +4, Reflex +0, Will +5

Feats (1): Animal Companion, nature sense, negotiator, wild empathy, woodland stride

Skills (30): Diplomacy +8 (4), gather information +4 (4cc), knowledge (local—city) +4 (4cc), knowledge (nature) +5 (3), listen +5 (3), profession (gardener) +7 (5), profession (green grocer) +5 (3), sense motive +6 (4cc)

Languages: Common and Elven

Animal Companion: Dog

Spells Memorized: Zero level: create water (2 times), purify food and drink, cure minor wounds; 1^stlevel: detect animals or plants, longstrider, speak with animals.

Magic: None

Mundane Items: as fitting to the campaign, but he is part of the working poor.

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An Example of Using Some Additional Random Attributes to Create A Character

Picture from fotosearch.com

Last Sunday I posted an article about using some identifying traits to help build non-player and player characters (A Tip To Help Create Characters and Non-Player Characters). I received a private response from a person asking for a little more. The person mentioned how they are newer to role-playing games (RPGs) and were trying to come up with ways for character creation, as a player and as a game master (GM).

What I'm presenting here is an example of using the attributes I wrote about to start a character. Then, using those attribute scores, create the beginning of a backstory.

This can be done in a couple of ways. Scores can be generated before anything else is known about the character, or you can have part of the character created and then generate scores. Personally, I like to start with something before the attributes because I don't always want all of these attributes to begin with. However, for this example, I am going to start with a setting and build from there. Of course, scores can be assigned instead of randomized, and they can be changed to fit the story as needed.

In this case, I am creating a character in a present day setting. The campaign concept is the characters are agents for the government investigating unexplained cases. This would be a mashup between a number of sources like The X Files, Monster Hunters International, and The Special Investigations Unit from the books about Harry Dresden. I am not building this character in a particular game system to show how this method applies to creating a character backstory instead of how it fits in to a particular system.

The scores here were determined with 3d6, as described in the previous article. After each attribute I am giving my own interpretation of what the number means.

(3) Brave–13–Cowardly (18) = More likely to watch if there is a chance of getting hurt.

(3) Energetic–7 –Lazy (18) = They would rather watch then get involved, but will get involved if it looks like it is worthwhile.

(3) Forgiving–13–Vengeful (18) = Holds grudges, usually only for a short time, but likes to pay back hurts if they won't get caught.

(3) Generous–7–Selfish (18) = Tendency to be helpful to those in need, but not much.

(3) Honorable–16–Treacherous (18) = If there is a way of getting what they want without getting caught, will probably do it even if it means someone else might get hurt.

(3) Reactive–14–Cautious (18) = Remember to think before taking action, even if that is not always what happens.

(3) Merciful–12–Cruel (18) = Average, but would rather hit the person who knocked them down.

(3) Proud–13–Modest (18) = A little less flashy than the average person. Likes to show what they have done, but usually just to friends.

(3) Trusting–16–Suspicious (18) = Expects others to take credit for what they have done and to leave them out of the glory.

(3) Quiet–11–Talkative (18) = Average.

Combining these into a single character doesn't require creating an entire backstory. It's to provide a feel for what the character may have gone through, not a complete history.

To keep this random, I presented the game concept to my wife and asked who would the agency recruit? I did not give her any other information about the possible character or the attribute scores I had generated. She decided it was a woman in academia, in the social sciences, and likes mathematics.

Behind The Name random name generator gives us the name.

Morgaine Stabile

Picture from Shutterstock.com

Morgaine is a new professor of geography, demographic studies, at a small university. She has been studying population migration patterns of the modern world.

Her dissertation was delayed because a fellow graduate student used some of her research to complete his degree. Morgaine was unable to prove the research was not his and she had to rework an entire section of her paper. Morgaine let others see how she took it stride, but she knew she had been had and was careful to watch the work of the offending, now professor, colleague. Just before her own graduation a year later she came across an obscure article written years ago and recognized passages that were lifted by the thief of her data.

Morgaine sent a copy of the article, anonymously, to the right people to discredit the other professor, causing him to lose his career.

She has been recruited because of her understanding of migration models of modern populations.

This backstory gives enough information to see how the attributes above can provide some information. It is still broad enough that a player (be it me or another) could expand on individual aspects during game play.

The idea about using these types of attributes is to provide guidance, not boundaries. Characters are going to change as they are played because each new adventure, once completed, becomes part of their backstory.

I hope this example helps.

If you have any comments, questions, or critiques please leave a comment here, or send an email to guildmastergaming@gmail.com.

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