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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WordChoice2

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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.

GM Quickies

VasilisaGamemastering 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.

Open with a Conflict

When kicking off a campaign or chronicle, open the proceedings with some sort of conflict. Deliver a few lines of scene-setting and then let all hell break loose. A fight, naturally, works great for a combat-focused game, giving the players a chance at the beginning to see which of their abilities complement one another and any team tactics or combos that can arise. But opening conflicts can also help set the stage in more cerebral or social games, in which players can learn things about the world through experiencing them firsthand — especially if dubious loyalties are part of the game’s theme. Opening with a conflict allows the game to begin with everyone participating, as opposed to a lore dump that begins with the players’ eyes glazed and hands tied.

It’s Dangerous to Go Alone! Take This

Sometimes, an NPC wants the PCs to thrive, no strings attached. No bargaining for favors or information. No desperate pleas to save the village or stop the dread doom. No “I’ll give you this if you do that.” Just a minor boon or item from a person who genuinely wants to see the PCs succeed.

One Down, the Rest to Go

Before entering a combat sequence, describe the heroes’ effortless dispatching of one of the enemies. Minion types work great for this, but feel free to take out a pernicious named underling. Very often, we see “the big bad gets away” or other acts of GM fiat that seem to work against the characters’ interest. This technique reminds them that occasionally, GM fiat works in their favor as well. And it hypes them up for the combat to come.

Loot Drop

lootWithin the first session, the players find a trove of cash, contraband, or beyond-their-level items that pose a dilemma. Do they return the discovered loot to its (perceived) rightful owner? Or do they keep it for its initial advantage and risk being found out and earning the ire of the (rightful?) owner? This initial choice has a meaningful effect on the session/ campaign/ chronicle, kicking it off in high gear with an immediate emphasis on player communication and decision-making.

Blow up the Death Star

Construct an early session so that the players can enjoy a seemingly outsized victory that would normally be out of their league. The players will appreciate the sense of accomplishment, and you can design follow-up stories to take advantage of the initial event. For example, the player could destroy a very powerful vampire in the first session… which paves the way for her lieutenant to become a more powerful, recurring antagonist in the campaign. The entire campaign need not revolve around the initial outsized event, either: a future encounter or three can “call back” or refer to the initial victory can generate a strong sense of relatedness for the players.