Maps as Flowcharts

In fantasy RPGs, and in some other theme-forward RPGs, maps are often assumed to be one of the high-impact setting artifacts. They’re great for demonstrating production value, they provide valuable in-game information, and they’re good goal-setting tools that inspire their players to seek out far off and challenging destinations. Heck, “map fantasy” is an entire sub-genre of literature.

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This map makes me want to play this game.

A conversation in one of my online communities recently got me thinking about what maps suggest, however. While I don’t have an issue with maps, in general, I often find myself working with with much less precise geography when I run games. I responded that GMs could also use flowcharts instead of maps, and I wanted to explore that more substantially here.

Some of things that come up when discussing maps:

  • When your fantasy campaign/ scenario/ session relies on a map, that document makes many decisions for you, rather than letting them emerge from the gameplay. A savvy GM can deviate from this, but it becomes a little more difficult to account for than changing an antagonist or substituting a faction. There’s a cascade effect of consequences that changing “map truths” has, not the least of which is invalidating some of the visual verity of game materials designed for that very purpose. Certainly, fantasy and games are about imagining “what if?” but if the tools for doing that reinforce a different what if, they’re fighting the player’s sense of authenticity.
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    Hexcrawl nerd nirvana, from Tomb of Annihilation.

    If the mapped area is known, that diminishes some of the discovery incentive for exploring the area. Put in practical terms, there’s a reason that Tomb of Annihilation has a huge number of unknown hexes on its player map. It’s an encouragement to seek the answer to a question the game asks. If the players’ map was filled in, it’s simply an exercise in choosing the perceived optimal route. But when the players are able to fill it in because they found the answer, that’s intrinsically rewarding! They’ve pushed back the unknown themselves, which is extremely satisfying. In a perfect world, your players may be the ones to make the map and introduce it to the world (or keep it secret). But those decisions and outcomes are the stuff of which games are made, yes?

  • Assuming a semi-medieval information state and economy, maps are extremely valuable, and the information they contain isn’t necessarily common knowledge. This is less important in worlds with magic and million-year written traditions and infinite non-exploitative production means, but overall, if your world assumes some historical affections and not others, that makes it more difficult for the players to understand which of the unspoken truths are in fact different. Not a huge issue, but a seeming incongruity with certain assumptions of authenticity.

Again, my intent is not to eliminate map use, but to provide an immediately useful and perhaps more relevant alternative. Especially as a GM, you may need more or different information more readily at hand than a traditional map provides.

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A dungeon arrayed as a flowchart rather than a traditional gridded map. The dotted line indicates a secret passage. The numbers correspond to encounter details on a legend (not depicted). Note the one-way path from the Treacherous Bridge to the Black Idols — reaching the idols this way probably means falling from the bridge!

I’m reminded of an early Robert E. Howard sketch of his fantasy world as he envisioned it*, which didn’t have a map paired with it. rather, it was a description of the various lands and the themes they evoked, but with a very impressionistic description of their locations, largely in relation to the other locations. This seemed to me a clever narrative way of handling things — I know that Area X is off to the badlands of the west and Region Y is mired in the swampy southeast and that’s pretty much all I need because I’m reading about story events rather than planning a road trip to either location.

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This dude is pretty sure he’s within a day or two’s travel from Greyhawk.

In my experience, that’s the most important determinant: Is the destination more important than the journey, in terms of how the game is set up? For example, if the game is planned as a series of narrative events planned at key set piece locations, the actual map geography becomes less important. If the game is planned as a hex crawl or a journey into the unknown, a map is more important — and the players may even be creating a map of their own, perhaps even the only such map that exists in the world! OSR gameplay, for example, often emphasizes travel to the destination, while many more narrative games focus on the planned encounter locations instead of the interstices.

Replacing the Map With a Flowchart

When the fine details of a map aren’t critical to the gameplay decisions, I can set to work building the flowchart. Even “flowchart” implies more structure than is necessary, as it suggests dependent, sequential movement. A simple chart, showing relative position, is really all you need. You can build these with heavy tools like Power Point (not optimal) or Visio (better, as it preserves the spatial relationships and connections). I’ve found, though, that lighter mindmapping programs work best. I use Scapple most often and sometimes MindNode (which I also use to collect campaign details, plot events, and player responses). Different programs should also let you use different shapes and connector types that give you visual cues of different information types.

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Here’s a map chart of a local-scale campaign environment. The green location is the starting locale, and probably the one best known to the PCs. The blue entries are the areas that PCs can gain rumors about while asking around the village. The uncolored entries are feature areas — dungeons, buildings, interesting places. The red entry is a planned encounter tied to a specific area proximate to other nearby features. The numbers on the dotted lines are travel distances expressed as times, which can be used for random encounter checks or for time-dependent events.

Things to Include in a Map Chart

  • Spatial relationships of geographical entries
    • Include sequential travel relationships. For example, if you have to go under the mountain to get to the castle on the other side, the chart should depict that dependency
    • This also lets you array the alternate routes. In the example above, it may be safer but longer to travel through the forest to get to the castle, but faster and more dangerous to go under the mountain
  • Distance between geographical entries
    • Stated as a value; will usually fit on connector lines
  • Some differentiation between geographical entries of different types
    • E.g. Region vs community vs geographical feature vs adventure site vs encounter
    • Use different colors to denote different entities (cities in one country all have a blue background, all dungeons with artifacts have a yellow-highlighted header, etc.)
  • References to relevant encounters
  • If you want to get sophisticated and interactive, you can link from the map chart to wiki entries, Trello cards, Obsidian Portal campaigns, etc.

* “Notes on Various Peoples of the Hyborean Age,” “The Hyborean Age,” and “Hyborian Names and Countries,” pp. 375, 379, and 417, from The Coming of Conan the Cimmerian

Donate and Win Anarchs Unbound

I’m holding a drawing for the limited edition version of Anarchs Unbound, the last book I developed for Vampire: The Masquerade. If you’re into autographs, I’ll do that, too. All you have to do to enter the drawing is make a donation to Feeding America and show me your receipt of donation. Doesn’t matter how much it is, and you can of course blur your personal details if you’re nervous about personal information on the web. Also, you can donate from anywhere — I’ll cover the shipping costs regardless of where you live if you’re drawn as the winner.

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I’ll do the drawing on September 22 2017, so you have a few weeks to assemble a donation. You can send me proof of your donation via Facebook, Twitter, or e-mail jachilli (at) gmail (dot) com.

More GM Quickies

Gamemastering is a combination of art and science, and like any skill, is improved by doing more of it. As you run RPG sessions, you’ll pick up your own style, voice, and tricks of the trade. Here a few that I use on occasion when I run games — I hope they serve you well.

The Prophecy is False

The Thing Portended doesn’t come to happen. The magic sword falls into the hands of a rival power, who destroyed the stone rather than yanking the sword from it. The grimoire in the occult library has been defaced rather than imparting its secrets to the foretold sorcerer. There are two — or more — “chosen ones” and a heroic effort becomes factionalized. The benefits of using this technique are that it makes the world feel more governed by actions and consequences rather than faits accompli — which subtly reinforces that the actions of the characters are significant, because free will matters. If the prophecy was magical in nature, a false prophecy indicates either capricious, unreliable magic, or perhaps darker forces at work subverting it. If the Prophecy is technological, it creates doubt in the default assumptions of technology’s omniscience, and can likewise indicate behind-the-scenes efforts to sabotage what is “known.”

Destroy Money

If monetary treasure is part of a campaign’s rewards, players need to have things to spend that money on. If money can’t be used for anything significant, it’s little more than an extrinsic score. If solutions to game problems are available for easy purchase and the players have too much money, the players can effectively handwave away many of the game’s consequences. Adventure campaigns in particular require careful use of the party’s resources, including spells, special abilities, hit points, and the currency used to equip the party. You don’t have to keep track of every nickel and dime, but a scarcity of game resources forces the players to make considered decisions to guarantee their success. Taxes, room and board, homestead expenses and the like all help the players have a sense of ownership in the world. Having the pack mule with their bushel of gemstones fall off the side of a mountain is a less reasonable way to take money away… unless it kicks off a quest to retrieve the lost lucre.

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A simple gameplay loop, well suited to monetary rewards, that allows players to demonstrate mastery as well as destroying resources

Use Critical Failures to Speed Resolution

In many cases, critical failures end up prolonging systems interaction, rather than creating interesting outcomes. Critically fail an attack, you drop your sword; critically fail a research roll and you confound your study and have to start over. Consider instead using the critical failure to help speed the resolution, rather than extending it. For example, I use a house rule that gives adacent foes an attack of opportunity if a player (or monsters!) rolls a 1 on the attack roll. Botched research yields incorrect information rather than resetting research task progress to 0.

Rob Peter to Pay Paul

Speaking of critical failures, “bank” them when possible for when you have a chance to make them more significant than a tactical setback. A critical failure on a Repair roll holds the ship together for now — but it’ll give out at some critical moment in the future (necessitating more decision-making and problem-solving). A critical failure to cast a spell invokes a demon somewhere else. Use critical failures to create interesting outcomes and to generate new choices and new opportunities for action. And players will have a delicious dread of a critical failure that seems like a success. Be consistent, though! The “banked” outcome has to relate to the original botch. No fair punishing a player on a Perception roll when they crit-failed an attack roll five encounters ago.

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An opportunity for something more exciting than “You drop your pistol.”

Share the Narrative Duties

Rather than using an expository speech, reveal world history in broad strokes. Players like playing. Fewer players like being subjected to a GM lore dump. Give just enough detail to stoke player interest, and then share the worldbuilding with them as it emerges from their reactions to your broad strokes. It can be anything from naming an unnamed village to inventing a local custom in a place the party visits — and it should be happening a lot in your games, whether you try to do it or not. And when you do try to do it, you create that much more engagement and investment.

Belluna Serenissima: A Postmortem

Last week, we concluded a campaign of 3+ years. I was the GM, and in the interests of improving my craft, I wrote up the following postmortem on our experiences. Hopefully it’s valuable to you. It’s definitely helped me organize my thoughts on this particular game and group.

An auburn sun glitters off the canals. Lamplighters fill the lanterns over the strada with oil. A boisterous laugh, an overturned jug in a pool of wine. A man bolts across a bridge wearing a devil’s mask. A woman reclines at the fore of a gondola, fanning herself in the humid night air. A scent of gunsmoke and basil. The sound of a harmonium. Lewd graffiti on a fresco above the heads of ruddy-faced, mustachioed paisan, idling away the night with cards and catcalls. A cloaked figure, moving in the shadows of the stuccoed walls. The glint of dying sunlight off a knife’s blade.

Belluna Serenissima! Its tastes and smells inflame the imagination, from the salt tang of the waterway-streets to the rich scent of the grilled polpo to the delicate bouquet of its finest wines. Skilled craftsmen of all trades display their handmade wares in stalls passed down family lines for centuries. Great artists, scientists, and philosophers flock to its wealthy patrons. The al fresco public houses seem forever open. The ports teem with goods and visitors from all across the world.

But Belluna is also a city of contrasts. Its churches give succor to the devout while the palatial estate of its Doge erupts into the all-night revelry of the carnevale. Its Palazzo Ducale stands testament to the might of the city, even as its underprivileged wonder when their next meal will be.It has inherited a tradition of law from its classical forerunners, yet its ill-lit alleyways harbor a motley array of gangsters and racketeers who are invisible to — or above — that selfsame law.

A subalpine port city, Belluna lies at the foot of the mountain passes that travel beneath Monte Bianco to the northwest and the Piave Sea to the east. It is a city of canals, fed by the River Amaro, most of which bustle during the day with commerce and private travel. Many of the city’s roads are earthen, but much travel happens by canali and ponti, particularly near the trade district, where a great deal of the city’s inbound commerce occurs. Many other waterways, though, meander through the city proper, creating a poetic spirit and giving Belluna its unique personality.

This, then, is a chronicle of those who would taste the fruits Belluna has to offer. From the sparkling blue-green waterways to the solemn granite of its cathedrals, from the heights of Monte Bianco’s crags to the depths of the Piave Bay, from the secret tryst offered by a masked temptress to the proclamation of war shouted by the capitan di ventura, from the neutral grounds observed by the warring assassins’ guilds to the lairs of the monstrosities lurking in the city’s long shadows, Belluna is a city of unrelenting adventure!

We played Pathfinder, starting from 2nd level PCs advancing to 8th, using the slow progression scheme.

You can read some of the details here, if that’s your cup of tea.

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Pros: What Went Right

We used roll20.net, which offered a number of positives. The virtual tabletop allowed us to overcome the geographical space between all of us (a few Raleigh-Durham locals, a Pennsylvanian, and a Californian). I purchased a number of maps that lent a far greater degree of high-quality art than I would have been able to build or scrawl in black marker on a battlemat, so the environments were very satisfying to look at for hours on end. Macros, hidden rolls, shareable handouts, and the rest of the suite of roll20 features were all golden, and I can’t recommend it enough.

I was fairly stingy with treasure, but this resulted in most characters gaining “signature” magic items that affected how they played. This was a positive result, and not one that would have improved had I simply added more money to the rewards. Characters developed in unique ways built around the magical items they accumulated, making for a high degree of personality.

Player dependency and interrelationship was good, even though most players chose classes outside the trinity. Some weird stuff developed, which was cool. For example, the tank had a pair of boots of striding and springing, and one of the other heavy hitters was a monk, so the group’s front line was very mobile. Lacking a traditional healer in the latter third of the campaign, the party alchemist ended up developing healing bombs, and the paladin, the only other healer, was decidedly less mobile than everyone else (heavy armor!), which made the party cultivate some non-traditional stay-alive tactics.

A few key NPCs emerged as story drivers. A much-hated antagonist caused much consternation as he became an ally. An information-handler found himself in danger, and the PCs rallied to protect him. A wealthy patron had to prove herself due to association with an antagonist. Once I saw players responding to these, I used them more frequently, and always to provide them with decisions (rather than make the decisions for them).

Character mortality was low, in accordance with the rules, and the deaths that did occur carried an emotional weight that reinforced the players’ engagement. I would have liked perhaps one more PC death, but they are tough buggers, and adaptable.

Room for Improvement

As it so often does, real life often intruded, and some sessions had to be rescheduled, canceled, or subbed out for one-shots. This is fine, of course, but playing via virtual tabletop made it very hard to pick up where we had left off. Sessions ran approximately monthly, and while everyone was excited to play, we definitely lost some brain cycles to “Okay, remind me what happened last time again?” or even “Who is this guy we supposedly met six sessions ago?” It’s unfair for a GM to expect players to spend as many mental cycles on the campaign as they do (since they’re doing much more of the organizational work), but this occasionally undermined some of the engagement/ investment in key scenes or even raised the question “Why are we doing this?” when the immediate answer should have been one of volition.

Infrequent game sessions made it particularly hard to enforce delayed effects and disease attacks (filth fever, lycanthropy, etc.). A general assumption that everyone “returned to town” between sessions generally had game time elapse between one session and the next, meaning that even if the effects took place, they would have abated by the time the next session convened. Players enjoyed the benefit of facing foes that had these attacks (increased XP rewards, etc.) while having to endure little of the drawbacks. Next time I want to plan better to incorporate the session downtimes and/ or construct plot events so that these become more of a factor, as opposed to handwaving them away. Construction of sessions to more serial than episodic would bring these lingering effect more into the spotlight.

Infrequent sessions saw us handwaving away much of the travel as PC levels increased. This very much disappoints me, as the interstitial journeys that take place in an RPG are where so many of the world details emerge and where the players test out tactics (or decide that avoiding a challenge is better than facing it). We lost out on a lot of roleplay by skipping the getting-there.

“Main events” consumed more and more time in tandem with the players’ and antagonists’ special ability portfolios. The “connective tissue” of the campaign scaled back and back because the focal conflicts of the evening session became more and more demanding, in terms of construction and game mastering.

I would have preferred more substantial journaling and quest logging, but the players mostly weren’t into it. Every now and then, the logging effort surged, but most players non-participation in it — and my frequent lack of input — I think resulted in the players who were keeping up with it losing interest. I’m not normally one to offer extrinsic rewards or bribes for keeping up with this stuff, since that often turns the results into something perfunctory, but I do have some sense of loss over a more consistent chronicle of the campaign. This is something I should make time for in the future, and encourage more in the players. I don’t want to do it myself because a) that offers too much of a “peek behind the curtain” that’s supposed to emerge at the table, and b) it’s a way for players to remain engaged and “play when they’re not playing” if they’re so inclined. But they weren’t, so I’m other looking for a solution to a problem that doesn’t exist, or I need to demonstrate more of a value to it.

Branching the Flow Lines, Pt. I

“Getting into the dungeon” is usually a straightforward affair, and one without a huge amount of significance. It’s often glossed over; on occasion it’s used as a change to spring a tone-setting trap on unwary players or to deliver an ominous expositional portent. Moving through a dungeon is often similarly linear, offering a few more choices, but modern design by and large drives players through a series of escalating challenges to an ultimate “boss fight” or consummating set-piece conflict.

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Movement into and through contained physical spaces can be so much more than this, however. One of my favorite classic modules, Caverns of Thracia, provided numerous avenues of approach from the surface into the dungeon environment itself, as well as from within it to the lower levels. The eponymous Castle Ravenloft consists of a variety of branching hallways and catacombs. In general, when you branch the movement opportunities of a physical space, the emphasis of the game session becomes one of volitional exploration over overt conquest. Finding how and why to move where takes precedence over how to overcome what. (Which isn’t to suggest removing fights or other encounters, it just shifts the emphasis.)

Constructing location-based adventures with multiple choices and multiple points of ingress offers a host of satisfying decisions to players, and are equally as fulfilling to GM while watching the deliberations ensue.

  • Players can pursue an immediate short-term goal of discovering all the points of entry to the location
  • Players can choose their approach to the environment so as to best suit the party composition and strategy
  • Players can “shortcut” to deeper levels when they’re ready to undertake those challenges without retreading already cleared ares — unless a clever GM wants to repopulate the cleared areas to offer additional challenges and rewards

As you can see this provides a wealth of significant decisions for the players to make during gameplay, and it provides them numerous opportunities for action. Stuff like this is why people play games to begin with as opposed to consuming more sttaic media: to see the outcomes of what they do.

Practical Application

Dungeons in fantasy games are the most immediately obvious example.

The original Succubus Club for Vampire was set up with an “open floor plan” that allowed players to move through it and claim micro-territory in this most prestigious of Kindred hangouts, and even included a basement “labyrinth” for clubgoers who deliberately wanted to lose themselves in its environs.

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Bars, dance floors, VIP booths, cocktail tables, the DJ booth, the coatroom, etc. can all be locations in a modern “dungeon,” with numerous ways to approach them.

Multiple choices can also capitalize on the themes of fear present in horror games, whether being lost in the caverns where a cult of Deep Ones worships in Call of Cthulhu or searching for your beloved in the mall’s service tunnels and boiler rooms in Monsterhearts.

Games like Spycraft, Night’s Black Agents, and Leverage can have “dungeon crawls” through environments like corporate skyscrapers, fallout shelters, derelict churches, apartment high-rises, and warehouse complexes.

Mazy spacecraft, military outposts, and planetary strongholds can translate the experience into games like Star Wars, Stars Without Number, and Starfinder.

And of course, post-holocaust games can adapt any of these locations and more, whether as leftovers from collapsed civilizations to new constructions erected by dangerous mutants or reavers.

While Designing…

The following techniques can help you design game spaces that offer a great deal of autonomy.

Make use of vertical space: Level one can have a staircase that goes down to level two, a sinkhole that connects level one to level two from a different room, an airshaft that leads directly to level four, and an elevator that stops at all levels. Giving players options for not only their route but their destination affords them the opportunity to challenge themselves and set their own goals. Used wisely, you will get a lot of mileage out of this design principle. In computer games, level design is a entire discipline, making extensive use of this technique. (And it’s no coincidence that Caverns of Thracia‘s original author, Jennell Jacquays, is an accomplished level designer for computer games.)

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A cross-section of vertical space arrangement in Swords & Wizardry

Favor authenticity over realism: You can enter and exit the monster’s pit by being dropped through the trap door in the throne room floor… but also through the tight, twisty tunnels the vermin in the kitchen have burrowed. Who cares if the vermin don’t actually burrow and that it doesn’t make sense that the kitchen is next to the monster pit? What’s important are the choices and the thematic consistency, and to suggest that someone else down there has an interest in smuggling food to the pit monster….

Staged complexity: Not everything has to be available to the players immediately. Oftentimes, players will enjoy a chance to revisit a known, “mastered” portion of the location that poses new challenges. Over the course of the players’ exploration of the site, open additional options to them. Pulling a lever on level three opens an additional entrance to an unexplored section of level one. A room on the surface that’s initially inaccessible can be unlocked with the password offered by an NPC encountered in a lower level.  An entire floor can rotate, changing the layout of a “known” location and granting access to previously unknown areas. With weird magic or superscience, entire portions may even vanish or be revealed “when the stars are right” or other criteria are satisfied. Thus the additional options open to players once they’ve already been introduced to the location, so they’re not overwhelmed by it.

GM Quickies: GMing Horror

When you take it upon yourself to GM a horror game, it’s your job to build a moody experience. If you’ve run a game as a GM before, you know that building mood is a significant task! You share the storytelling stage with the players, and by and large, they react to the game elements you’ve told them are present. With that in mind, knowing how and what you want to present the players with goes a long way toward maintaining the mood appropriate to a horror session or campaign. The following suggestions aim to help you do that.

Create Fear, Don’t Squick

Fear is an emotion that comes as a result of the uncertainty of one’s own well being. Characters in a horror game are right to feel fear — some dark force has turned its baleful eye directly upon them!

Every good GM knows to add sensory detail to their descriptions, the better to immerse the players in the setting. Gory detail should be used sparingly, however. Gory detail more often creates revulsion, not fear, and risks replacing the thrill of fear with discomfort. Resist the urge to devote too much attention to the glisten of viscera or what’s dripping from a ghoul’s mouth. While certain parties may appreciate this sort of thing (and, of course, you know your gaming group better than anyone who’s never met them could), be wary of risking their enjoyment of the game by placing too much emphasis on splatter in place of building a mounting mood of horror.

Detail is like a spice. Too much overwhelms the dish. A little goes a long way.

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Let Imagination Loom

Fear thrives in environments where the mind is left to imagine its ultimate doom. The monster unseen is more fearsome than the monster described. The creaking door, the guttering candle, the faraway howl on the moor: All of these create more fear than revealing what caused them. Ultimately, many questions will be answered and many mysteries will be revealed over the course of a session or campaign, but leaving some time between describing some element of the story and revealing its true nature is the crucible in which horror forms.

This technique works well for everything from small details on up to greater campaign mysteries. Revealing partial information to the players sets their minds to imagining all sorts of worst-case scenarios that help reinforce the mood at the table. Pacing the rate at which you reveal information can trade much on that principle. Introducing strange and incomplete details and allowing the players to ascribe dreadful significance to them lets the players brood upon the unknown. It’s a technique used in mystery stories as well, but it takes on a fearsome gravity when matched with other elements of horror.

Example Details

Minor details: The creaking door, the guttering candle, the faraway howl on the moor, as mentioned above. Footsteps on the ground floor of the inn (who could be visiting at this time of night?)

Story details: A bloody knife discovered in the refectory. Flashes of light witnessed at the castle on the crag from the village below. The missing servants at the tycoon’s mansion.

Campaign details: The construction of the new crypt on the family estate (because the old crypt filled so quickly…). Learning that the librarian is the seventh son of a seventh son. The brewery is owned by the son of the secret police, and every delivery has an extra barrel unaccounted for on the shipping manifest.

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Discovery Through Repetition

Delivering game descriptions with emphatic repetition indicates to players that the repeated detail is important. The repetition reinforces the presence and normalcy of the detail. It creates a pattern that stands out when it’s broken (which allows you to amplify the dread by the players not knowing what has caused the break in the pattern). It creates a subtle signal that makes players feel empowered when they discover.

The chilly castle has a fire stoked in every room that feebly keeps the cold at bay. The perfect array of bricks in the Boston cellar walls indicates attentive craftsmanship. Every envoy sent by the ambassador has blond hair. When the players explore one of the castle rooms with only smoking embers in the fireplace (who or what put it out?), observes a cellar wall with a single missing brick (what’s behind it?), or receives an envoy from the ambassador who is strikingly bald (why is this fellow different?), their minds work to analyze the the change in the pattern. And this lets their imagination loom, as above.

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Steal Their Ideas

A clever GM knows when to rely on the purchased or pre-annotated source material, and when to run with the players’ cues. Packaged stories are commercial products, and are generally written to entertain the broadest audiences. Notes written by the GM before the session starts are, at best, projections of concepts that will challenge and entertain the players. But when your session is underway, you’re getting live, real-time feedback for the game events that you can use immediately so that you can tailor further developments to that player response. If your notes say the Duke is secretly the werewolf, but your players have a more significant connection to the midwife, maybe it’s best to change the werewolf’s identity. If the vital clue is in the publisher’s office but the players are having more fun at the mayor’s inaugural ball, consider relocating the vital clue to city hall.

Be careful with this! Ultimately horror revolves around the perception of helplessness. But if players feel that every time they develop an attachment to a character or show an interest in a setting element, the GM turns it against them, they will feel punished for their engagement. Horror relies on hope to contrast the darkness with light, and a sense of accomplishment is critical to maintain even in a horror environment.

Design for Dependency

Class-based game systems are occasionally described as offering “niche protection” as part of their design. The cleric is a healer, and no one else heals as well as the cleric, for example. The rogue excels at dealing damage; the fighter withstands punishment like no other. The wizard controls the crowd and/ or damages wide areas. Each of these roles has a thing it does well, so the “niche protection” statement is true.

But, in a larger design sense, what niche protection actually offers is an ecology of dependencies that build relatedness between players. A party of four fighters won’t fare as well as a more rounded party, because many of the things fighters depend on aren’t offered by other fighters. (Of course, some systems offer ways to vary the makeup of various classes, but these variants are rarely as potent in their variant role as the core class structured to meet the dependency.) The cleric’s job is to keep everyone standing, something that no other class does as well; the other players depend on the cleric for this, accordingly. The fighter’s job is to keep threats focused on him; the other classes depend on the fighter taking the most heat so they can perform their functions. The rogue is augmented by sneak attack damage, so she eliminates threats quickly, but she relies on the cleric to keep her standing and the fighter to keep enemy attention on him.

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Designing for these dependencies not only helps the player group maximize its effectiveness, but also helps strengthen the relationships between players. And since games are a social endeavor first and foremost, rewarding those relationships is ultimately a proven method of keeping the players engaged for the long term.

Minimalist Character Sheet for an Undefined Game

Here’s a really simple design for an issue I’ve been looking at a lot: Character sheets can be frightening things. Looking at a single sheet of very-small-sized type and its associated blanks that must be filled in is not a terribly accessible or inviting activity. So, after being called out by Derek Guder, as a design challenge to myself, I thought about a way to make a character sheet that’s easy to read and lets a player know at a glance what the game experience will offer. I’ve been thinking about this a while, so it was a chance to turn doodles into something actionable.

 

I think this would work really well for narrative- or setting-focused games like Vampire (especially one-shots), Call of Cthulhu, or GUMSHOE, or maybe even power something like a tabletop trip through The Legend of Zelda or Shadow of the Colossus.

It begins with the following single premise to simplify game interaction that reduces the volume of information on the sheet itself.

A character’s abilities and vitality are a function of each other

That is, a character has a number of health units and each unit of health carries with it a special ability of the character. So, as the character loses health, the character also loses the ability to affect the game world and other entities in it.

So, for example, the following character has three health levels, and the abilities of Vanish from the Mind’s Eye, Command, and Poisonous Blood. When the character has suffered no damage, she can use any of those abilities.

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When the character does suffer damage, the player marks off health units from the top, and loses any abilities for which that health level has been marked off.

So, back to the example, the character has suffered one health level of damage, and has also therefore lost the ability to use Vanish from the Mind’s Eye.

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That’s it. The sheet and a suggestion of the game in just a few geometric shapes and text keywords.

Permutations

Calling the health units health suggests physical conflict or wellness, but that doesn’t even have to be true, especially in settings that don’t rely on combat, or where physical combat is simply one facet of a more holistic system of conflict resolution.

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From Death Comes to Pemberley

This could just as easily be set at Pemberley, with units and ability loss themed as exhaustion rather than physical violence. It may represent the court of Kublai Khan, where running out of status results in disgrace and exile rather than explicit death. Perhaps the game is set in a shipwreck survival environment, where an abstracted amalgam of physical damage, exposure, starvation, and mental anguish are all part of the individual character’s well-being and represented by the health units. The entities players portray need not even be characters — a player may portray a starship, a society, or a super-intelligent shade of the color blue.

Heck, it doesn’t even require one sheet per player. What if the sheet represented a pirate vessel regardless of the number of players representing the crew? Perhaps the crew collectively makes decisions and the sheet simply records the capacities of the ship. A game like that would see the group dynamic inform the decision-making, and it wouldn’t even matter if the exact same player group made it to a weekly session, so long as one or more players were there to give the orders.

Scaling

As the character attains progression, whatever that means in the game’s terms, the player simply adds another ability to the queue. As such, character prowess increases in tandem with durability.

That’s not always the intent, though. For durable characters who aren’t necessarily exceptionally competent, an “empty” health unit could simply have no ability tied to it.

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And a more fragile character could have a pair or more abilities associated with a single health unit.

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Portability

Hey, this doesn’t even have to be a character sheet. These could just as easily be ordered cards, colored beads, or whatever translates best to the game format.

Dependencies

Obviously, a character sheet represents the visual point of access for a player’s interaction with the game world. Even though this is a very simple design, it implies other systems. Without an actual game here, the below are impossible questions to answer at this state, but would be worthy of thought.

Ability functions: In order for using and losing abilities to be important, abilities need to be defined. As well, they may or may not need a resource to be expended in order to vary their frequency of use or scope of effect. Or, you know, maybe not. Maybe they just work.

Conflict resolution: What causes a player to lose those health/ exhaustion/ disgrace units, and their attached abilities? Do only ability inflict unity-ability damage? Or is there a fundamental action that operates free from those restrictions?

Attrition: Does player elimination occur? If not, when does the player return to play after the character loses all her health-ability units? Are there any associated penalties? How many of the player’s original capacities return, if any, and if not, what new capacities does she have? What other consequences occur?

Progression: By what method does the player acquire new ability-units? How are they selected or awarded?

Opportunities for Action

Description, detail, and lore are widely considered cornerstones of the roleplaying games medium. They tell only part of the tale, however. Certainly, description  detail and lore all have their place in the verbal-literary tradition on which roleplaying games draw. What ultimately defines a game, however, is the opportunity for players to make choices and affect the outcomes of the game environment. Without interaction, these details are simply words, diorama designs that assume no life of their own. The players’ interaction with these descriptors is what defines a roleplaying game as a game.

To this end, players inherently seek opportunities for action, inputs by which their choices determine, define, or react to the game’s events at any given time.

As a GM, it’s part of your job to draw attention to the opportunities available. You don’t have to — in fact, you probably shouldn’t — exhaustively list what the players can do, but suggesting a course of action has a variety of values. It lets the players know that the game state is waiting on them to interact with it, that it’s time to declare an action and “play.” It engenders in players a state of creative thought. And it provides a frame of reference, or an anchor with which to compare their own actions.

Describing the Call to Action

Given the verbal-literary tradition of roleplaying games, word choice when drawing attention to these opportunities is significant. Consider the differences in the calls to action in the following examples:

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Each are viable prompts to act, but each frames the potential opportunities for action differently. Some leave the full breadth of action available to the players, informing them only that the gamemaster seeks their input. Others suggest possible courses of action, and might even be interpreted as subtle clues.

As the GM, your presentation of the game world by definition limits how the players can react to it. After all, they can’t know what you don’t tell them. Each of your words and phrases discloses the presence of a “moving part” that players may attempt to exert control over or otherwise interact with. Choose your words carefully, as they tell the players not only what they experience, but potentially what actions might  be relevant to those events in response.

Importantly, as a GM, you don’t want to mislead your players. Avoid prompting them with opportunities for action that would have negative outcomes (or at least suggest that their outcomes might be negative, as with a quandary in which the players much choose between lesser evils). A GM who bait-and-switches her players with misleading negative suggestions soon loses the trust of those players.

Read Player Cues

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Illustration by Steve Prescott

The gameplay experience shouldn’t be a one-way flow from gamemaster to players. A good GM reads his players’ responses and adjusts the game to be a better balance of challenges and player desires. That’s not to say a good GM hands the players everything they desire on their terms. Rather, customizing a pre-written adventure or scratch-building one to offer the sorts of opportunities for action the players want to undertake results in more engaged players.

Much of this involves reading your players. For example, when a player asks, “Can we sail around the cliffs?” he may simply be trying to solve a given encounter with the available information. But it’s possible that he’s also saying, “I would like more sailing-oriented opportunities for action in the game.” Reviewing character sheets and skill specializations can provide more insight here. A character who has five dots in boat piloting and who’s asking “Can we sail around it?” is telling you, in the language of the game structures, that he wants to do some goddamned sailing. Satisfying this desire may be as simple as reskinning a travel interlude or as substantial as retooling entire encounters to involve sailing instead of, say, overland wilderness survival.

This is one of the toughest parts of GMing, because it involves not only reading these verbal and nonverbal cues, but also challenge design and balancing the results of that challenge design to a degree that the player ensemble finds engaging. If your players’ eyes are glazing over, you’ve got some work to do, but as the example above illustrates, you may have some work to do even if they haven’t checked out. In the latter case, you’re focused on increasing engagement. (If they’re zoning out entirely, you’re not engaging them at all.)

Spotlighting Relatedness

In campaign or chronicle play, the players’ actions in previous session often open new avenues to them. A hostage rescued in session three becomes a valuable contact in session seven. A sensitive document recovered from the antagonists later turns those antagonists into surprise allies. A trivial favor granted to a powerful vampire later becomes the boon that ensures the coterie’s invitation to Elysium. The barkeep buys the PCs a round and tells them, “Thanks for keeping us safe, dragonslayers.”

All of these examples are chances for players to relive their success moments from earlier in the campaign. Not only are they rewarding in this sense, but they’re empowering going forward — success paves the way toward more success.

Indeed, relatedness need not only spotlight success. Narrative progression may turn a past failure into a new opportunity for justice — or vengeance. One of the keen properties of narrative is that a “failure” in the terms of the story might actually be beneficial in terms of game systems, by opening new plot threads to explore or motivations to entertain. Destroying the wizard’s tower in session one only to be dealt a drubbing by the wizard in session three sets the stage for a showdown in session five.

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Illustration by Moebius

Call these accomplishments out. Give the players time to exult in them. Let their characters cheer each other (or commiserate with each other), and in so doing, grant the players a moment to reflect on the social activity they shared at the time. These moments provide valuable narrative context, and they renew players’ engagement in their current courses of action.

Destination: Pagan Lands

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I’ve been “working on” the Pagan Lands for years. By “working on,” I mean that I’ve been wrestling with my ideas for what to actually do with it. It was originally my home campaign, but then I got a wild hair to retool it as a retroclone, and then I set that aside to do it as a setting-agnostic pick-up supplement, then it returned to stasis as my Belluna and Tarsemine games became active, but it has always remained vital as a work-in-progress labor of love, and it’ll probably be the next extended campaign I run.

While I was straightening the home office this weekend, I went through my notes folders and found myself doodling in the rough regional map that’s grown over the course of the project. The map is intentionally ugly (the better to make quick changes without invalidating a bunch of art) and I’m not a gifted cartographer anyway, but it serves its purpose as a sort of geographical flowchart by which the players can move from one cluster of encounters to another.

Each of these regions represents a different opportunity for action, the “what is happening here?” in which players can involve themselves  — or to leave unmolested if it doesn’t suit their tastes. Think of these regions somewhat like the Ravenloft domains or the territories of the Wilderlands of High Fantasy, a themed experience that the players’ choices can directly affect. Most importantly, knowing a region’s theme doesn’t rule out events can occur there, it only suggests the sorts of events the players are most likely to encounter. As with one of the core Magic precepts, if the theme isn’t accessible and discernible from the most common interactions with it, it won’t emerge as a theme.

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Naturally, a separate collection of random encounters also helps to populate the Pagan Lands. Not every event that transpires in a given region needs to touch upon that region’s theme or central event. Most do, however: Each wandering encounter table consists of events or creatures that could easily have connections to the theme. Demihumans encountered in the dead city are probably there plundering the linnorm’s hoard. Pilgrims encountered near Vulcan’s Cliffs are likely deranged cultists of the Sea God. Encounters near the Starfall have probably been exposed to the celestial body’s residual energies.

So it looks like I’ll be headed back into the Pagan Lands soon, and I’m looking forward to it. Although it’s a weird place, it’s like coming home.