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Showing posts with label encounters. Show all posts
Showing posts with label encounters. Show all posts

Creating New Encounters by Providing a Twist to What You Already Have

Avid role-playing gamers are known to learn about the monsters they expect to encounter, especially players who also are game masters (GMs). This has made for a steady market for expansions for new monsters. But, then the race is on once again, as the players get a hold of the expansion and soon know about the new monsters. There are some "tricks" a GM can use to bring in "new" monsters their players won't know. Here are some ideas in creating monster encounters that will keep players guessing what they are running into.

I am not the only GM who has prepared a new role-playing game (RPG) adventure and wonder what monster I can use as an encounter that my players won't know. Since my gaming group has members who have been playing Dungeons and Dragons for over thirty years, and most of them over twenty, when we play they have a good understanding of the monsters in the standard works and many of the outlying supplements. Providing an encounter where they don't immediately know what the monster is, and how to defeat it, can be a hard hurdle to get over. This isn't just the long standing classic games either, players like to be prepared, and GMs can prepare as well.

Dealing with this escalation of knowledge can be handled in different ways. One of the popular ways is to buy another book of monsters for your game system. These books can be great resources for you to use and as long as there are enough people buying them, companies will keep writing them. These books provide a multitude of monsters to draw upon. For this to continue to work for surprising your party, you need to make sure others in your gaming group are not dipping into the pages. These additional books are great for games with complex creature building systems and you don't want to spend the time building up a new encounter.

Many people like building new monsters. Building your own creations allows you to specialize the monster to the setting, adventure, and encounter you want to run. Another advantage of having the monster be your own creation is you control the information. Unless you give it out, no one at the table is going to know the monster they are encountering. The downfall for creating these monsters is the time involved in making your creation.

I have used another method of creating encounters which is quicker and easier, and you can still surprise your players. I use existing monsters and provide variations to the look, stats, or another factor of the monster already presented. This has worked with my home group and where I have GMed a game at an open gaming table. Let me provide a couple of examples of what I have done recently.
 
I was GMing a party beginning characters, with new and experienced players. I wanted to make sure the new players would get the awe factor of the encounter without the experienced players voicing their knowledge about what was happening. The group entered a swamp and a number of creatures were swimming up the open channels and surrounding the small island the party was camped on. I described the creatures as overgrown frogs of 3–4 feet tall when they stood on the ground. The experienced players were making judgements of what the characters were seeing based on the players knowledge of the monsters. None of them were able to discern what they were really encountering. The new players were given the opportunity to play out the encounter without corrections about how they described it, or the actions they chose. In simplicity, I had changed the description of kobolds and gave them claws instead of spears.

I did a similar twist with another group of experienced players. They party was moving along a road through a forest and found a small outpost besieged by short, odd-shaped lizardmen. These were lizardmen straight from the Monster Manual with a twist on their description and fighting tactics. Because they didn't fit into the knowledge some players already had about lizardmen, the players maintained a steady conversation about how to handle them. They started referring to them as prehistoric lizard folk, further back in the evolutionary line. (That worked well because I used that point further on in the adventure.)

This also works well for larger, bigger, and meaner monsters. In past adventures I have used the statistics from a race of giants and with only minor changes and presented them to the party without them knowing what to do. And, who says a dragon has to look like a giant lizard? Yes, it makes them look mean. But, Asian dragons have always been described differently. With a little bit of a change a dragon can appear like a giant dog, a long coiled snake, a lion, or even a ferret. The concepts of demons and devils also open up great tweaks to existing statistics. The main block of statistics can be used with only a change in the description.

Even with my most experienced players, the changes in description and minor adjustments to abilities has kept them guessing at what they are dealing with. The other important item I have learned is, even when players are not meaning to, a certain level of meta-gaming occurs. To provide an encounter that limits the meta-gaming, don't work straight from the books. Players who also GM know the books, if they see where you are referencing in the common book of knowledge, they will have ideas of what type of creature you are working with. This, in turn, will modify their play. Keep your monster notes on another piece of paper, notebook, or laptop away from view of the players. This will help keep the suspense higher, which, in turn, will modify how the players react.

Another easy way of hiding what the party is encountering is by hiding them in plain sight. Use the hidden traits of skill, feat, advantages, training, or whatever is available in your game and drop them on a monster. This can be done as easily as changing a movement from climbing to swimming. I also reuse other resources.

I have also collected character sheets of player characters and non-player characters to use. When I need an easy encounter I have one already worked up. A few fast adjustments and it's ready to go. I did this awhile back with an encounter with orcs. The main part of the encounter was the basic abilities of a past character party with the stats dropped on the orcs. I have also done this by recycling the stats of an encounter from modules others have written. There is a wealth of available encounters in adventures from the past.

Creating your own adventures is rewarding. When you're running a campaign and have a regular weekly game, there is pressure to create new and exciting things for the rest of the group. It takes time to create the wonders when you have to do them from scratch. Luckily, there are years of material you can use, adjusting it to meet your needs and desires. I have never had players complain about me using these tactics to create adventures. Many times they were pleasantly surprised when they found out what I had done. With this strategy of creating encounters, I know at least one person who has taken up the position behind the screen because it alleviated some of the fear of running a game.

Originally posted on Stuffer Shack.

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Ms. Elinoire, Operator of The Tangled Rigging

Medieval Working Woman
About ten years back Elinoire Whitewash became a widow. She had spent much of her adult life on her own because her husband was a sailor which kept him out at sea for long periods of time. And, they were unable to have any children. She is now in her early fifties and spends her time managing the affairs of The Tangle Rigging.

Elinoire knows all of the regular patrons and most of those who come in when their ship is in port. She talks with everyone and has a way with people to get them to relax. She never pushes for information or forces people to talk, she makes herself available for people to talk with her. Although she always seems to be doing what she can to help people she never puts herself, other workers, or the patrons in a position of danger.

The rules at The Rigging were set by Ms. Elinoire and the regular patrons abide by them. Anyone who goes against the rules she will ask to leave. If her request is refuted, or, if she has been threatened in any manner, the person will have to deal with all of the patrons and staff present. There have even been times when it was deemed the person might be more than the patrons could handle and they have called upon others to enforce the rule of the fellowship.

Medieval Meal
Along with providing a place for those needing it at the fellowship hall Ms. Elinoire does what she can to help families that are struggling because of losing a family member to the sea. This is not only those who have lost someone due to death or who are missing. Young families on their own often struggle and she helps the young brides. This is not only in providing food and clothing, but in teaching them how to survive on what they have and learning where to get help as needed.

Ms. Elinoire takes all of these people she helps as part of her personal family. Because of helping other find jobs, ride out the rough times, and helping the sick, a local owner/captain, Emmanuel "Em" Hasworth, had is ship christened Sea Angel in her honor.

Elinoire Whitewash (Ms. Elinoire) (Human commoner/Level 3 D&D 3.5)

Str 8, Dex 14, Con 14, Int 10, Wis 12, Chr 14
Alignment: Neutral Good
HP 17
Initiative: +2
AC 12 (dex +2)
Attack base +1 (She would have to be hard pressed to attack back)
Melee Attack +0
Ranged Attack +3
Fort +3, Reflex +3, Will +2
Feats (2): Skill focus (listen), skill focus (sense motive)
Skills (15): Diplomacy +3 (2cc), heal +4 (4cc), knowledge (local) +2 (4cc), listen +7 (2), profession (cooking) +3 (1), sense motive +6 (2cc)
Languages: Common
Magic: None that she knows of
Special mundane items: A few small trinkets that have been given as tokens of thanks.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.


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Creating Villains, Large and Small

After reading the articles about creating backstory for a location a person asked about how much work should go into creating a villain. I felt like I have been giving the same response to questions like this so I first talked with some other writers I know.

I know everyone is looking for the magical piece of information that makes creation easier. But, they gave the same advice I had at the start—you put in as much as you need.

The problem becomes the question, how much is needed? You can't really ask another person how much is needed while you are working on your creation. You go until you think you have enough to run your encounter, adventure, or campaign. There are some thoughts that can provide guidance.

How big your villain needs to be helps define how much information you need about them.

If this is the villain of the encounter, they don't need a lot of background information. These might be the henchmen of a greater force, or they might be the group of bullies on the space station. These are the bad guys you are throwing into the adventure to move through an encounter.

If you a working on a villain that is manipulating the kingdom the campaign of multiple adventures and months of gaming is based around, you might want a little more about this villain. This one is going to be a driving force, directing all sorts of conflicts with behind-the-scenes maneuvering and manipulations. The depth of their story is going to help drive the adventures and encounters the characters will face. It will therefore also direct how the characters develop.

Villains have personalities.

They are characters in your game. Non-player characters (NPCs) ran by the game master (GM) should be built out as much as needed so they can be played to their best effect. Again this goes back to how often, or how long, the NPC is going to be used. Those expected to have short lifespans in the game shouldn't take you long to put together what's needed. The emissary of the Krogon fleet who keeps interacting with the party over the next half dozen game nights probably should have more work.

The villain is the hero of their own story.

This is a writing tip that works great. The evil king, pirate lord, superhero villain, or even the orc raiding the village are all motivated to action for a cause. Sometimes that cause is to not starve, for others it is bringing order to the universe. No matter who they are, they are doing what they are doing for a specific reason and they see themselves as the main character of action. Sometimes the motivations are noble, other times they're not. Again, larger motivations drive greater action. This means the henchman may not have a great reason for what he is doing, but the queen probably does.

Be willing to advance your villain.

NPCs can and should advance like your player's characters. When creating advanced or leveled encounters I like to start them at the beginning and work them up from that point. This works for creatures that are larger, or those that can gain levels. For those characters who are going to be involved over longer periods of play, I start with what is needed and advance them as needed.

A friend ran a campaign where are nemesis was a mage. We encountered him early on and continued to run into him. He kept thwarting us and slipping away. The wizard started out as a low level encounter and continued to advance as we did. This allowed for a series of encounters with the same character that were always challenging and not over powering. The same can be done for many character types and monsters.

Villains don't have to be absolute evil.

Many villains in a story are only villains to the heroes. This goes back to their motive. When the villain happens to be of a different faith, political faction, foreign government, etc. they are acting in their interests the same way the heroes will be acting in their interest. In our own history many wars have been fought where both sides claimed they were fighting on the side of the same god.

The hardest part is determining if you have enough information to run your villain. You can't ask your party if they think there is enough information, but you can probably find someone else that can look it over. If you can't do that, you have to make your best guess. Of course, you can add to encounter on the fly.

Take notes and be willing to change what is needed to make the encounter, adventure, and campaign work. If they do happen to kill your villain before reach the climax of the storyline, consider their sibling, cousin, close friend, or second in command.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

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Party and Regular Combats, Using a No Talking Rule

During most of my gaming years the main gaming group I have been involved with has had some type of open, sandbox, campaign world. We started with an open world with gaming club back in the early 80s and we still have one that anyone can run an adventure in. The gaming club had over 30 members so we the open format allowed players to mix and match in the adventures ran by different game masters (GMs). And, with this set up, character clashes were a regular possibility. We knew about party-killers way before the on-line games were around

Character combats can be bad and good.

Some of these encounters left scars on characters, and some emotional scars on players as well. I wouldn't recommend doing this unless you have a group of players who can handle having their character taken out. But, it didn't always go bad for the good characters. Players soon learned to track who their characters knew and trusted, and who were known enemies. This in itself added a new and different element to the campaign world.

The tracking of friends and enemies would sometimes lead to adventures completely off the script the GM had planned. We even had some adventures start and end in the same common room of a tavern as known enemies entered. The two characters would end up squaring off against each other leaving everyone else to figure out not only what was happening, but who's side they were on, or if they should even be on a side.

Other times the adventure would happen, with the unspoken knowledge that at some point there was going to be a party break down. This usually happened right after the last major battle took place and the treasure was in sight. Leading up to that truly final combat of the adventure was usually a lot of role-playing as sides were being recruited. Even then, some people around the table didn't know who was on which side, or if they were being targeted as being on one side or the other. It was during one of these final encounters we came up with an idea that has worked well in figuring out what action people were taking.

We started running what we called a silent combat.

Most groups usually have a rule about table talk, what is said is done or heard. When the party structure dissolved we enforce this rule that whatever is said at the table is heard by everyone. If you wanted to talk to a specific individual, while the party was all in the same area, you had to do it in a note conversation, and others could try to listen in. At first there were some complaints. Eventually people were expressing how they enjoyed what was happening. We also implemented a method for controlling actions.
Before initiative, every player wrote down on a piece of paper what they were planning on doing at that moment. As the round unfolded players revealed their action, but were allowed to make some changes based on what had already occurred. This didn't play a big part how the combat played out, but it did give the players time to think a moment about everything leading up to that moment. With newer systems using one initiative roll per combat there is much change after that. However, in ones that have initiative every round, writing down the action can add some unexpected twists.

The biggest impact to the combat was anything a person said was heard by everyone. There was no hidden planning or bargaining. This same aspect works well in other combat situations as players suggest play, or direct it, for other players. Intelligent encounters who can understand was is being said should be able to react in the same manner as another player's character.

There is one drawback. New players who don't understand what their character is capable of usually can benefit from verbal help. We always work at providing the different options the player has and the benefits/problems of those options. Then, let them make the decision.

But, when you have knowledgeable players and someone speaks up across the table of setting up the thief for a sneak attack, it can change the combat in a hurry.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

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Fighting School and Slave Market in the City, The Flesh Golem

At the furthest end of the wharf district, where most consider the edge of the city is the The Flesh Golem. A gladiatorial training school and slave market owned and operated by Geshwin, a women who made her way first as an adventurer, and on the sand. Her business caters to a number of different types of people who and what they are looking for.

Services

As a gladiatorial training ground Geshwin, or one of her trainers, offer lessons in combat styles and techniques. Between them there are very few styles, techniques, or weapons they do not know. Their training can be useful for adventures, would be gladiators, or typical city residents.

There are almost always a couple adventurers, or would be adventurers, training at The Flesh Golem. Because there are usually people training here Geshwin has contacts with a number of adventuring companies and mercenary guilds. With her contacts, she is also able to direct people to those who may be interested in hiring their particular talents.

For city residents the training is useful for personal safety and for advancing one's career. A number of personal guards are regularly sent to train at The Flesh Golem by members of the affluent. These men and women are trained in how to provide safety to their client. Freelance warriors and others who rely on their martial skills also are regular customers at the training grounds.

Self-defense is also taught to those who desire a basic understanding of protecting themselves. This training is not as involved in mastering a weapon, but in how to limit the attack until a body guard or city patrol can provide help. The techniques taught are simpler maneuvers of incapacitation and escapes from holds.

Full combat training at The Flesh Golem is harsh, but no non-slave gladiators have ever died in training. A person taking fighting lessons will most likely get hurt. Geshwin believes a fighter will get hurt, and most likely die, in a fight. Therefore, getting a person used to the idea of what it means to get hurt and to get beaten in a fight is the only way anyone can become a better fighter.

Additionally, fighting skills are taught at a much more intense level to slaves destined for the fighting sands of the arena. The fight trainers working for Geshwin work with the gladiators, allowing Geshwin to work with the paying clientele. This training is provided for the property Geshwin owns and to those others have hired her to train.

There are more injuries and a higher level of intensity to the training for gladiators. Geshwin knows the ring holds death, even when the fights are not scheduled to be deadly. The slaves are trained to be able to survive the situations that can arise in the arena. Most of these fighters are trained in techniques designed for one-on-one combat and small party fights.

Gladiator combats are usually performed by slaves, but there are times when the celebration requires additional participants. The rules of the city arena require free-lance gladiators to have fulfilled some level of evaluation of skill at one of the training schools. The Flesh Golem provides this service for the city. Before an untested person can enter the city arena one of the senior trainers watch the fighter to rank their ability to allow for solid pairings in the arena.

The final service The Flesh Golem provides is an auction block. Slavery in the city can be dictated by the government as a means of paying for crimes committed, most of these people are prisoners of the state and are put on work crews, but there are a few times they are sold into the service of others. This is usually done when the individual has a skill making them more valuable on the block than as menial labor.

Along with those dictated by the state people can sell themselves or their children into slavery. This indentured servitude is one way people allow for additional benefits in their own life, or for someone else.

All terms of slavery are for a specified period of time. A person can buy their way out of slavery, but the price is determined by the owner.

Description

The reason The Flesh Golem is located at the edge of the city is because of its size. Along with a training area that is gated for the slaves there are several other training areas for paying clients. Most of the areas are walled with rough wood to provide privacy for those who want it. The main house is for Geshwin, her trainers, and her house retinue which consists of slaves and hired help. There are a couple of low, long buildings housing the training gladiators, attached to a common area for them.

The training areas are designed to provide individual practice areas and group areas. The weapons are practice weapons, wood and blunt. There are also training areas for building stamina and strength. The gladiators in training spend most of their time in one of these areas.

The brick and stone main house is well furnished and taken care of. A person visiting Geshwin will note her home is clean with a lot of open space. The furniture is comfortable and practicable. There is very little in the furnishings that would be classified as art. Instead of art there are weapon displays throughout. Within the displays are functional weapons that Geshwin and her trainers are knowledgeable of. Each trainer has a private room and Geshwin maintains a suite of rooms as her private quarters. The live-in house servants also have their own rooms, albeit smaller ones, which includes the trusted slaves.

The wood gladiator/slave quarters are also designed to allow one person per room. Gladiators who have been successful also have been allowed to provide some of their own furnishings. Some have even been given larger rooms.

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Developing Culture, Continued Example, City Backstory

Thank you for the interest on the articles discussing culture. At the end of this article I have included links to earlier articles about the city and some of its inhabitants I use.



Backstory for Supporting Culture



Developing the culture does not require building a backstory, but it helps. After I decided what I wanted in my "current" city I could go back in time to figure out why the structure, rules, and culture of the current society exist.



As you develop a location you don't need to know everything. All you need to know is what is needed for what you are currently doing. I have been developing the city of Castanis for many years, most of it by writing down short, one-line, notes, names, or ideas. Those notes can either be forgotten, decided against, or developed. Development doesn't have to be in full either.



When writing the previous article on the goblin enclave I developed what was needed without going into full detail. The goblin are developed enough so they can be included in the city. They have their area of control, how they are able to sustain themselves, and few other details. There are hints at what is involved, but until I need the leadership they don't need to be developed. (I have been asked to provide some more details on the goblin enclave leadership, so they are now in the works.)



As an example of developing a backstory for a culture, here is the beginning of a history for the Castanis. The history is meant to be a guide, in this case for both a game master and a player. There is enough information to explain the basic of why some things are the way they are, along with clues to additional information someone might want to delve deeper into. There are also large gaps in the information about the intervening years, which can be expanded when additional backstory is needed.




A Brief History of Castanis



Many years ago, generations in terms of the lives of humans, men were starting to push there way out from their own minor existence. They started sailing the coast, exploring and trading. The estuary of the Long River was found as a place with good anchorage and for providing protection from the open sea. The location had been previously used by other seafaring races and conflicts occurred.




No one knows why the first battle took place, but the conflicts escalated, as grudges developed. Battles took place in the harbor, and the surrounding waters. Ships were sunk and many brave souls from different races were sent back to the heavens. It is said the battles continued for years. Until a wizened human, Pilan, did something the other captains were not expecting: instead of fighting he went to shore and planted a flag of truce.



Pilan, the Founder, called forth to the other captains present that day. Pilan negotiated with the captains to provide a safe place for all who were travelling along the coast. Instead of sailing on Pilan and his crew would stay at the mouth of the Long and build a new port. He promised he would welcome all the races who came there. This way the ships could bring their goods to a new area and the people of the area would be able to trade with the rest of the known world. The new port was named Castanis by the pact of captains, derived from one of the old languages because it means a place of protection.



Initially, times were tough on the fledging town. The only advantage the location had was the harbor. The area was muddy and swampy. Food was not easily obtained. And, they were pushing back against the wilderness.



Monsters assaulted those who took up residence in Castanis. Luckily, the new port brought adventurers who were wanting and willing to take on the struggle of taming the area. Some came to slay the monsters, while others came to convert them. Both had some success and each year the town and trade grew. Pilan grew old watching the town he settled develop.



Castanis has never stopped growing, and the principle it was founded on stayed firm—everyone, no matter what race, who came in peace, to trade or live, was accepted. This does not mean everyone lives in peace, but the law is applied to every resident, theoretically. This caused the town, and now the city, to develop in unexpected ways.




New groups arrived and set up their own camps, in the most part keeping to themselves. Over the years some have mixed with the other races over time, while others still maintain a level of separation. There are a number of racial neighborhoods where one race feels more secure, while some areas are highly mixed. There are places, like the portion living under the waves or in the dark, who live the way they do out of requirement. The city has moved up the river, along the coast, down into the earth, and, with the wizards and priests, into other dimension.



Walking down the streets of the city, day or night, you are likely to meet others gathering together in common trade; where, if they had met in the wilderness, they would be spilling blood. Adventurers have started their careers here, while others have found this the place to retire from their exploits. Still, there are those who are born, live, and die without ever travelling away from their beloved city. Those who never travel away are not just the common folk. There is potential to rise to great prominence and power within the confines of Castanis. Great adventures not only come from or to the city, many are made because of the city.



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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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