The Alexandrian

Weaving a spell is the art of drawing upon the tapestry of magic that permeates all the things. The use of metamagic subtly alters the normal flow of spells, bringing more power to the dweomer at the cost of a higher spell slot. Augmented ritual casting of spells energizes spells at the time that they are cast, as opposed to the time they are prepared; thus the spellcaster does not need to sacrifice any spell levels to cast a spell augmented with metamagic. The ritual provides the extra power.

A spellcaster can ritually cast spells augmented with only the metamagic feats that he knows, but he can include each feat that he knows at the expense of extending the casting time, sacrificing more expensive components, and taking greater risk that the ritual will fail. Each extra metamagic feat that is applied to a spell through augmented ritual casting that would normally increase the level of spell instead makes the spell take longer to cast and cost more in material components. The total of these extra levels is the added level modifier. The added level modifier is used to determine the specific requirements of an augmented ritual casting.

AUGMENTED RITUAL LIMITS

The level of the spell being cast plus the added level modifier of all feats augmenting the spell cannot exceed the highest level spell the caster is capable of normally casting.

Example: A 12th level wizard cannot cast 7th level spells. The most powerful ritual a 12th level wizard could perform to augment the knock spell (a 2nd level spell) would be one with an added level modifier of +4 (2 + 4 = 6, the highest spell level the wizard can cast).

AUGMENTED RITUAL CASTING TIME

To determine the casting time of an augmented ritual casting, first determine the spell’s base ritual casting time according to the spell’s normal casting time (see table). The ritual casting time is equal to this base time multiplied by the total added level modifier of the augmentations:

(base ritual time) x (added level modifier)

Any casting time which exceeds an hour requires a Ritual Casting check against a DC of 10 + the spell level. (Use the spell’s original level, not the augmented level, for this DC.) A failure on this Ritual Casting check results in the magical energies warping and recoiling back upon the caster, resulting in (level of the spell + added level modifier) hp of damage. The augmented ritual is still successfully cast in the event of a failed Ritual Casting check.

Normal Casting TimeBase Ritual Casting Time
Free action1 full round
1 action5 full rounds
Full round5 minutes
Other10 x normal casting time

AUGMENTED RITUAL MATERIAL COMPONENTS

Augmented ritual castings require extra material components beyond those normally required for casting the spell. These additional components represent the rare materials that must be expended to draw upon even greater power for the spell effect. For divine casters, these components are typically comprised of holy incense, small sacrifices, or similar trappings offered to the gods. For arcane casters, these components may represent herbs, minerals, or any other form of ritual trappings.

Regardless of what these ingredients are, the general cost of these materials is a number of gold pieces equal to:

25 x (added level modifier)

SPECIFIC FEATS

Heighten Spell: The Heighten Spell feat can be used, with the difference in the actual spell level and the new spell level being used to calculate the added level modifier.

Quicken Spell: The Quicken Spell feat cannot be added to an augmented ritual casting. However, if the feat is used normally and the quickened spell is then augmented the ritual casting time can be greatly reduced (per the chart above).

Silent Spell: The Silent Spell feat cannot be added to an augmented ritual casting. If a spell prepared with the effects of the Silent Spell feat is used to perform an augmented ritual casting, the feat’s benefits are negated.

Spell Focus: This feat may be used in augmented ritual castings to provide a bonus beyond the normal +2 benefit. For every extra +1 bonus (above the normal +2 bonus provided by this feat) with which the caster desires to augment his casting, one level is added to the total added level modifier of the augmented ritual casting.

Spell Penetration: This feat may be used in augmented ritual castings to provide a bonus beyond the normal +2 benefit. For every extra +1 bonus (above the normal +2 bonus provided by this feat) with which the caster desires to augment his casting, one level is added to the total added level modifier of the augmented ritual casting.

Still Spell: As with Silent Spell, the Still Spell feat cannot be added to an augmented ritual casting. If a spell prepared with the effects of the Still Spell feat is used to perform an augmented ritual casting, the feat’s benefits are negated.

Go to Ritual Casting – Part 2: Combined Ritual Casting

 IN THE SHADOW OF THE SPIRE

Session 12A: Awkward Introductions

In Session 9, the PCs found a note mentioning a mysterious “Urnest”:

To our associate, Mister Linech Cran— 

We are in desperate need of your most delicate shipments. As you well know, we have important work which cannot proceed apace without those shipments. Urnest assures me that the consequences will be most dire if you cannot fulfill the responsibilities you have pledged yourself to. But I am pleased to inform you that I have interceded on your behalf. You have until the third of Kadal to deliver those shipments promised to us these two weeks past. 

    Silion  

In this session, while attending the gala at Castle Shard, they encounted Commissar Igor Urnst for the first time.

One was a tall, lean man with a mane of white hair down to his shoulders, a moustache, and goatee. He wore a monacle in one eye, contributing to his regal appearance; a dark blue tunic trimmed with gold; and a matching cloak trimmed with ermine. A heavy sword was strapped to his side and he wore several military honors upon his breast. Tee instantly recognized him as Commissar Igor Urnst, the leader of the city.

Urnst vs. Urnest. That’s not a typo. These are two different characters.

This sort of thing is one of the reasons why it can be valuable to keep a list of names handy for random NPCs, because otherwise your subconscious is likely to be drawn back to the same options over and over again. This is also something you need to watch out for if you’re drawing material into your campaign from many different sources, as it’s quite possible to find unexpected overlaps in naming.

Ptolus - Monte CookNeither was the case here. Both Urnst and Urnest are drawn directly from the Ptolus sourcebook. Just an odd quirk of the truly massive amount of material Monte Cook had generated over years of running his campaign and then injected into that mammoth tome.

I recognized the potential for confusion because, when I was reading the Ptolus sourcebook, I did become momentarily confused. (“Wait… Are these guys related? Oh, I guess not.”) I probably should have taken my cue from that and changed one of the names to something more distinct, but the thought got lost in my own labyrinthine process of prep.

But as soon as Commissar Urnst showed up in this session, Elestra’s player piped up, “Wait… Don’t we have a note mentioning this guy?” The only reward to be gleaned from my earlier confusion was that I instantly recognized what had happened and was able to quickly clarify the situation.

A DIGRESSION ON DELIVERING META-INFORMATION

It can be argued that the players should have simply been allowed to roll with their confusion and resolve it – or fail to resolve it – on their own. Usually, I would agree with that: Connections, relationships, and/or truths that seem “obvious” to you as their creator will not be obvious to the players, and that’s okay. It’s better for the players to figure these things out for themselves rather than having you disrupt their process of discovery.

In this particular case, however, there were only two possible outcomes: First, and most likely, they’d have laboriously dug through their trove of handouts until they found the one containing the name “Urnest”, realized their recollection was mistaken, and moved on. This was undesirable because we were in an escalating sequence designed to start the Castle Shard party off with a big Commissar Igor Urnst - Ptolus - Monte Cookbang. Disrupting the escalation for a wild goose chase because I’d failed to change a confusion name had no pay-off. It was much easier to just say, “Actually, the name in that letter was ‘Urnest’,” share a laugh about Sauron vs. Saruman, and move on to the meat of the session.

The other possible outcome, which I considered extremely unlikely, was that they would take the time to find the letter and then conclude that it was a typo, meaning that Urnest and Urnst WERE the same person! It can be argued that this was would be a natural, organic consequence of play and it would be perfectly valid to expore it through play, most likely with some very weird and confusing interactions with the Commissar during the party trying to suss out who Silion was. Or maybe it would even result in them feeding some bad intel to Lord Zavere, creating all kinds of weird fallout in the rivalry between Castle Shard and the Commissar!

Here’s what it boils down to: You have a limited amount of time at the gaming table, and that time therefore has value. There are also opportunity costs to consider. Was a 5-10 minute search through handouts culminating in, “Oh, I guess it wasn’t the same guy.” a good use of our time? Would the (apparently null) value of that experience be worth giving up a strong, well-paced introduction to the Castle Shard party?

Other GMs might make a different assessment than I did.

TRACKING THE NPCs

In the Shadow of the Spire has a very large cast of supporting characters. When running campaigns like this – with large numbers of NPCs who have complex relationships with both each other and with the PCs – it is tremendously important that both the GM and the players are able to keep track of them all.

If the GM fails to keep track of his supporting cast, the campaign will founder in confusion, contradiction, and missed opportunities. The quality of the players’ interactions with the NPCs will likely also suffer as the GM struggles to portray them with consistency and depth.

As for the players, the interactions with these rich and diverse characters is where a great deal of the immersion and reward from these types of campaigns come from. Action and meaning is driven out of their relationships with the NPCs, and if they can’t track them, the campaign quickly becomes a tumultuous chaos – a great deal of sound and fury signifying nothing to them.

Ultimately, of course, the players need to take some responsibility for this. But there are a number of techniques that the GM can use to encourage and facilitate the groups’ ability to track the supporting cast; they can grease the wheels, so to speak. You might start by reviewing some of the techniques described in Getting the Players to Care, but there’s also a number of specific techniques when it comes to NPCs.

ORGANIZE YOUR NOTES. The first thing you need to do as a GM is to make sure your own house is in order. You need to keep well-organized and easy-to-use notes on the important NPCs in your campaign.

I keep an NPC Roleplaying Template for each member of the supporting cast. When the In the Shadow of the Spire campaign started, I kept them all together in a single alphabetical file. As the complexity of the campaign grew, however, I broke them into a number of broad categories (largely based on a purely utilitarian basis, although obviously influenced by own personal understanding of how different characters – and groups of characters – interacted with each other and were likely to interact with each other). As I write this, those categories include:

  • General
  • Ghostly Minstrel
  • Banewarrens Protectors
  • Moonsilver Elves
  • Chaos Cultists
  • Imperial Church

In doing this, it’s important to distinguish between one-off or scenario-specific characters and campaign characters (i.e., the recurring characters who actually make up your supporting cast). If you don’t distinguish between them, your notes will become choked with irrelevant noise, drowning out the signal and making them more difficult to use.

Of course, it’s also important to recognize that many characters who are initially introduced for a specific scenario will become campaign characters as a result of how events play out and/or how the PCs interact with them. (This is similar to the process of certain NPCs “clicking” with the players that I discuss in the Party Planning game structure, except played out on a larger scale: When the players particularly like a particular character, they’ll seek them out, become interested in their lives, and otherwise keep reincorporating them into the campaign as long as you don’t get in their way.)

ESTABLISH NAMES EARLY AND OFTEN: Imagine your supporting cast as a filing cabinet. Each character is an individual file folder, and the character’s name is the label on that folder. If the players lose track of characters’ names, it’s like all the labels in your filing cabinet have fallen off.

You want to make sure those names stick. So try to get a name applied to an NPC as quickly as possible. (There can be countervailing concerns, but in general nameless people doing mysterious things is a spice best used lightly.) And once the players have a name for the character, use it over and over and over again. It might make for bad prose in a novel, but defaulting to an NPC’s name (“Igor walks across the room towards you”) is I think generally superior to our normal practice of defaulting towards pronouns (“he walks across the room towards you”).

STRONG VISUAL REFERENCES: Giving your NPCs an actually face (in the form of a picture) is a great way to make sure they stick in the memories of your players. If you find visual reference like this, make sure to display it when the character is introduced and get it back on the table every time they show up.

These visual references can also be a big help when NPCs start talking to each other. Simply point to or hold up the NPC currently talking and it can go a long way to keeping conversations clear even when you’re just talking to yourself.

A couple of provisos here, though. First, better to have no picture than a picture that isn’t right. “She looks like this, except her hair is different” doesn’t work in practice, because the visual reference will override the description. (You can run into a similar problem with proxy miniatures, which is why I prefer to use purely generic options unless I’ve got the right miniature for the job.) As a corollary, boxing yourself in by only being willing to create NPCs that you can find visual references for is obviously going to cripple you creatively.

Second, “this guy can’t be important, he doesn’t have a picture” (and vice versa) as a form of metagame knowledge can be a serious problem. (And I find it to be so even if the players aren’t specifically acting on that knowledge; it still ends up coloring their understanding of the game world.)

So add chaff to the signal: Use pictures for NPCs who aren’t important. And be willing to have important NPCs who don’t have pictures. (The first proviso will naturally assist you here.)

In the absence of (and in addition to) strong visual references, finding a unique voice, physical mannerism, or strong personality are also ways to help your players clearly distinguish (and remember!) different NPCs. The NPC Roleplaying Template will help with this, too.

Ptolus - The Ghostly Minstrel

KEEP THEM ONSTAGE: The best way for the players to become familiar with the supporting cast is, conveniently, to use them. Don’t “save” an NPC until it’s time for some big moment with them; give them an active life and keep them involved with the PCs. This is important not only so that the players don’t respond to the big moments by saying, “Who?” but so that your players will actually care about the NPCs.

The good news is that beyond a certain critical mass (and with characters that the players care about), they’ll start seeking out and creating these interactions on their own. I would know that a particular NPC had successfully clicked with my group when they’d get back to the Ghostly Minstrel and ask, “Is Jevicca here tonight?”

When prepping for a session, take a look at your supporting cast list and ask yourself if there’s anybody who the PCs haven’t seen in awhile who should be brought back onstage. Schedule events with them in your campaign status document.

Remember that you can also reincorporate members of your existing supporting cast when creating new scenarios. You should also discover that new scenarios are being born out of the evolving relationships the PCs have with the supporting cast.

PRUNING AND FOCUSING: On the other hand, you also have to know when to let go of certain members of the supporting cast.

This is true from a practical standpoint if nothing else: If all you ever do is introduce new characters to the campaign, the supporting cast will eventually collapse under its own bloated weight. As you (and your players) gain more experience – both generally and in terms of a specific campaign – you’ll find that the “active size” of the supporting cast you can manage will grow. But, ultimately, there’s a limit. As you add new characters, you have to be willing to let some of the old characters exit stage right to make room.

  • Recognize when a character’s story is done (and there are no more stories to tell)
  • Recognize when the players don’t care any more (which is not the same thing as them hating the character)
  • Recognize when the NPC has chosen to move on (either from the PCs, from the area, or from the shared interests that drew them together)

This is a process of pruning. But it can also be thought of as a process of focusing. Instead of just thinking negatively (what characters can I do without?) also think positively: What characters do you want to spend more time with? What characters have interesting stories to share?

Saying goodbye to an NPC, of course, doesn’t mean saying goodbye forever. Old friends (and enemies) can always return.

Ptolus - In the Shadow of the Spire

IN THE SHADOW OF THE SPIRE

SESSION 12A: AWKWARD INTRODUCTIONS

December 2nd, 2007
Harvesttime in the 790th Year of the Seyrunian Dynasty

Tee and Ranthir, on their way back to the Ghostly Minstrel, met Tor at the mouth of Delver’s Square. The Barundian grinned. “Did anybody order some clothing?”

Tee was eager to see her new dress, but not as eager as Elestra. As the elf headed back to her room, the young girl dashed out of hers: “Tee! How do I look! Do I look all right? Do you think it’s okay if I bring my viper?”

Tee looked her up and down. Then she considered her words carefully. “No. I think you should leave the viper here. It’s rather… large.” Then she guided Elestra into her room and carefully fixed up her make-up and the back of her hair.

Tor, meanwhile, was dropping off Agnarr’s clothes from Nestor’s. After a moment of consideration over the barbarian’s generally unkempt appearance, he decided to drag him down to the Row Bathhouse.

After that, all of them were busy getting ready. Read more »

The Struggle at the Door - Alex Drummond

The original 3rd Edition game came pre-packaged with a hand full of specific combat maneuvers (bull rush, disarm, etc.). I’ve always found it odd that this list was so rarely expanded upon in supplements, with designers apparently preferring to ladle on more feats instead. Over my nearly 20 years of running D20 systems, however, the Rule Supplement document I maintain for my personal campaigns has slowly accumulated a number of new combat maneuvers. These are presented below, along with a few expansions to the existing rules where appropriate.

ACTION OF OPPORTUNITY

Instead of attacks of opportunity, characters may take actions of opportunity. An attack of opportunity can be taken as an action of opportunity, but actions of opportunity can also be used for other purposes. Feats and abilities which normally grant additional attacks of opportunity instead grant additional actions of opportunity. If a character has used all of their actions of opportunity in a round, they may still attempt an action of opportunity by using their immediate action (if it is still available to them).

AID ANOTHER [Standard]

If you’re in position to make a melee attack on an opponent that is engaging a friend in melee combat, you can attempt to aid your friend as a standard action. You make an attack roll against AC 10. If you succeed, you can choose to grant a +2 circumstance bonus to hit, a +2 circumstance bonus to AC, or provide flanking if you are not doing so already (regardless of your relative position).

Any character with a base attack bonus of +5 or higher may be able to offer additional assistance with a successful Aid Another check. For every 10 points that their attack roll exceeds DC 10, they grant an additional +1 circumstance bonus.

AIM [Attack]

When making a full attack, you can choose to sacrifice all of the attacks you could normally make and take careful aim at a specific target. On your next attack against that target, you gain a +4 circumstance bonus for each attack you sacrificed. You cannot take any other action or move more than a 5 foot step before making your attack without losing the circumstance bonus. Since you are focused on aiming, you are considered flat-footed until you make your attack.

Quick Aim: If you can make more than one attack as part of a full attack maneuver, you can choose to sacrifice one of your attacks in order to gain a +2 circumstance bonus to a single attack taken on the same turn. You can sacrifice multiple attacks to gain multiple circumstance bonuses, and these circumstance bonuses stack with each other.

Example: If you can normally make four attacks when using the full attack maneuver, you can sacrifice your third and fourth attacks to gain a +4 circumstance bonus to your first attack. You could also sacrifice those attacks and gain a +2 circumstance bonus to each of your first two attacks.

BACK-TO-BACK [Free]

On your turn you can choose to fight back-to-back with an ally as a free action. The ally must be within 5 feet, and must choose to fight back-to-back with you. While fighting back-to-back, you and your ally work to protect each other – shoring up each other’s defense and, literally, watching each other’s back. You and your ally make attacks at a –2 penalty while fighting back-to-back, but so long as you are fighting back-to-back you cannot be flanked.

Note: You can fight back-to-back with multiple allies. However, in order to fight back-to-back with multiple allies, all your allies not only need to be within 5 feet of you, but within 5 feet of each other. (This clarification is only significant for odd-numbered groups wishing to fight back-to-back.)

BIND WEAPON / SHIELD [Attack]

As a melee attack you can attempt to bind an opponent’s weapon or shield. Attempting to bind a weapon or shield provokes an attack of opportunity from your target.

After the attack of opportunity has been resolved, you and your target make an opposed melee attack roll. The wielder of a two-handed weapon gets a +4 bonus on this roll, and the wielder of a light weapon takes a -4 penalty. If you and your opponent are of different sizes, the larger combatant gets a bonus on the attack roll of +4 per difference in size category.

If you beat your opponent’s roll, you have successfully performed a bind on your opponent’s shield or weapon. Weapons and shields involved in a bind, whether yours or your opponents, cannot be used: Bound shields provide no armor bonus and bound weapons cannot be used to make attacks.

The instigator of a bind may end it as a free action. The target of a bind can attempt to break the bind as an attack action by succeeding at an opposed attack roll.

Special: Binding a weapon or shield is considered a variation of the sunder action. Characters with the Improved Sunder feat do not provoke attacks of opportunity when attempting to bind a weapon or shield.

CALLED SHOT [Free]

When using the attack action or the full attack action, before making attack rolls for the round, you may choose to accept a penalty on all attacks from the round in order to gain a bonus to the damage roll of your first attack. For every -2 penalty you accept you gain a +1 bonus to damage. The total penalty cannot exceed your base attack bonus. The bonus to your damage roll applies only to your first attack (even if it misses or otherwise causes no damage), but the penalty to attacks lasts until your next turn.

Design Note: This effectively makes Power Attack a feat which improves a basic maneuver.

DISREGARD FLANKER [Free]

You can disregard attacks from an opponent flanking you. When you do, that opponent doesn’t get the +2 flanking bonus when attacking you and that opponent does not provide a flanking bonus to any of its allies. Ignoring a flanker, however, provokes an attack of opportunity from that flanker, and you lose your Dexterity bonus to Armor Class against that flanker. You do, however, continue to threaten that flanker. If the flanker is out of attacks of opportunity, you can ignore the flanker (and deny the flanking bonus) with impunity.

You must make the decision to disregard a flanker as soon as the foe moves into a flanking position. You can change your decision as a free action on your turn. (You still have to disregard a flanker you can’t see.)

DRIVE BACK [Attack]

As a melee attack, you can attempt to drive back your opponent. In doing so, you are attacking in a way that should force your opponent to back away from you. When you perform the drive back maneuver, your opponent can either choose to move 5-feet directly away from you or remain where they are.  If they choose to move, they suffer no adverse effects. However, you can choose to follow them (also moving 5 feet) if you have the necessary movement remaining this turn. If they choose not to move, you resolve your attack against them with a +2 circumstance bonus.

The movement taken as part of the drive back does not count against your opponent’s movement for the round. Your movement does not provoke an attack of opportunity from your opponent, nor does their movement provoke an attack of opportunity from you. However, this movement may provoke attacks of opportunity from other combatants.

ENGAGE [Attack]

As a melee attack you can choose to engage one opponent within reach. If an engaged opponent attempts to move away from you or if they attack anyone else before your next turn, you may take an attack against them at the same Base Attack Bonus as the attack you used to engage them (this attack is in addition to any attacks of opportunity you would normally be able to take and does not count against the limit on the number of attacks of opportunity you can take each round). You gain a +2 circumstance bonus to this attack.

If your opponent attempts to make an attack of opportunity against a different character while you’re engaging them, you take your attack normally. If the attack is successful, however, your opponent must make a Concentration check (DC 10 + damage dealt). If the Concentration check fails, your opponent loses the ability to make that attack of opportunity (although they may still take an attack of opportunity later if one is provoked).

Note: Even if you have more than one attack per round, you cannot engage a single opponent more than once (although you can engage multiple opponents at once).

FIGHT DEFENSIVELY [Free]

When using the attack action or the full attack action in melee, before making attack rolls for a round, you may choose to accept a penalty on all attacks from the round in order to gain a bonus to your AC. For every -2 penalty you accept, you gain a +1 dodge bonus to your AC. (For example, by accepting a -6 penalty, you would gain a +1 dodge bonus to your AC.) The total penalty cannot exceed your base attack bonus, although characters with low base attack bonuses (less than +4) can still accept a -4 penalty to their attack rolls for a +2 dodge bonus to their AC. The penalty to attacks and bonus to AC apply until your next turn.

Total Defense: When using the attack action or the full attack action in melee, you can sacrifice all of your attacks and dedicate yourself to a total defense. You gain a +2 dodge bonus to your AC for each melee attack that you would normally make. (For example, if you could normally make three attacks using the full attack action, then you could gain a +6 dodge bonus to AC for using total defense as a full action.) This bonus is in addition to the normal bonus you would receive for fighting defensively or using Combat Expertise at your maximum penalty.

INTERVENE [Action of Opportunity]

If you are within 5 feet of an ally who is targeted by a direct melee or ranged attack you are aware of (but not an area effect), you can use an action of opportunity to attempt to take the attack in your ally’s stead. If the attack hits you, you take damage normally. If it misses, it also misses your ally. You must declare your intention to place yourself in harm’s way before the attack roll is made.

OUT-OF-TURN-DODGE [Immediate]

Any time a character is about to be attacked, they can give up their next turn to gain a +4 dodge bonus to their AC as an immediate action. A character must be able to apply their Dexterity bonus to AC against the attack (so a character can’t use an out-of-turn dodge while flat-footed, for example) and the out-of-turn dodge is declared before the attack roll is made. The character’s initiative does not change, they simply do not take an action on their next turn. The character gains this dodge bonus until the next time their initiative comes up after their “skipped” turn.

PROTECT [Immediate/Action of Opportunity]

If someone within your threatened area is about to make an attack of opportunity against a target other than yourself, you can use an action of opportunity as an immediate action to prevent them from doing so. You and the combatant attempting the attack of opportunity each make an opposed melee attack roll.

If you succeed, you use your attack of opportunity to preoccupy them and prevent them from taking the attack of opportunity. (This does not count against the total number of attacks of opportunity they may take in a round, however, and they may still take an attack of opportunity later if one is provoked).

If you fail the opposed melee attack roll, they can resolve their attack of opportunity normally. This counts as an attack of opportunity for you.

QUICK DODGE [Immediate/Action of Opportunity]

At any time when you are about to be attacked, you can use an action of opportunity to gain a +2 dodge bonus to AC as an immediate action. The dodge bonus is only effective against a single attack. If you can take multiple actions of opportunity in a round (through the use of the Combat Reflexes feat, for example) you can still only gain a single bonus against one attack, although you can use additional attacks of opportunity to quick dodge additional attacks.

SPRINT [Move]

You can sprint at twice your normal speed in a straight line as a move action. You lose any Dexterity bonus to AC while sprinting unless you have the Run feat. You cannot sprint if your maximum run speed has been reduced to three times your normal speed (due to wearing heavy armor or carrying a heavy load, for example). Sprinting twice in the same round is the same as running.

This material is covered under the Open Gaming License.

Go to Part 1

Zot! #1 - Scott McCloudScott McCloud is better known these days for Understanding Comics, one of the greatest books ever written about art and the creative process; a towering achievement which laid bare the heart of the comic book medium.

(You may have seen me previously discuss Understanding Comics here, here, here, or here.)

Before he created Understanding Comics, however, McCloud created Zot!, one of the greatest superhero comics ever written. The first ten issues of Zot! – the so-called “color issues”, because the rest of the series transitioned into twenty-six black-and-white issues – are a must-read superhero / science fiction epic. And it’s here that we find our third scenario structure challenge.

At the heart of Zot! is the Key:

Zot! - The Key - Scott McCloud

Not quite a McGuffin according to my stuffy, traditionalist definition of the term, although largely indistinguishable from such for the first six or seven issues of the story, and close enough for our Zot! - The Doorway at the Edge of the Universe - Scott McCloudpurposes in any case. The Key is a holy relic held sacred by the people of Sirius IV and said to be capable of opening the Doorway at the Edge of the Universe.

The Key has also been stolen.

As the series begins, Zot chases the Key (or, more accurately, the trail of people looking for the Key) through an interdimensional portal to our Earth. There he meets Jenny, and through a series of hijinks they end up forming a small team of unlikely heroes who are pursuing the Key.

But they aren’t alone. In addition to the original owners and the thief, now that the Key is out in the open a whole bunch of factions have become interested in acquiring it. The first few issues of Zot! each have a procedural heart to them, in fact, with Zot needing to deal with some different crazy foe who wants the Key for themselves.

Zot! - Dekko - Scott McCloud

This includes Dekko, a Machiavellian machine who believes that the Doorway – a product of technology which predates all technology – is the “final ascendancy of Man’s perfect art and the end of Man’s greatest flaw: Himself.”

There are also the De-Evolutionaries, who believe that humanity would be better off if it went “back to the trees” (and use de-evolutionary guns to turn people into chimps to make that literally happen). They want the Key because passing through the Doorway will legitimize their crazed religion.

Zot! - De-Evolutionaries - Scott McCloud

Where the story becomes truly special, however, is when these different factions begin collapsing back into themselves; interacting with each other, forming and breaking alliances with each other, and developing complicated and rich relationships with each other (and with the object of their desire).

McGUFFIN KEEP-AWAY

This scenario shares a lot in common with the Race to the Prize that we analyzed last week: A target object of value with multiple factions competing for its ultimate possession. The key difference (pun intended) is that rather than being the ultimate goal of the scenario, in Zot! the McGuffin is in play and actively shifting possession over and over again.

In the case of Zot! the initial scenario hook is that the item has been stolen. But you can just as easily have the McGuffin secured and instead have the initial scenario hook be the need to steal the item, which then initiates the McGuffin Keep-Away. To some extent the distinction is merely one of perception, however, since the structure ultimately boils down to “X currently has the item, who can take it from them?” The “original owner” of the item is just the one currently in possession of it.

This keep-away dynamic makes the scenario more difficult to design and run. Without the clue trail of the treasure hunt, creating a through-line for the scenario becomes more complex. It also becomes trickier to clearly set up rivalries and the competition between teams, because in the default mode there’s no sequence of events that needs to be achieved before snatching the prize. And as soon as somebody (whether it’s the PCs or somebody else) snatches the prize, they’ll be in the wind.

Okay, so what makes this scenario work?

1. Create X number of factions seeking the McGuffin, in a process that will be fairly similar to that used for Race to the Prize.

Zot! features a couple of interesting variants here. First, there are a number of proxies who end up shifting their alliances (or, at least, which faction they are currently working with) several times throughout the narrative. Second, there are entire secret factions which are using other factions as a front for their own activities. The character of Prince Drufus, for example, notably ends up Zot! - Prince Drufus - Scott McCloudas both. In fact, he frequently ends up working with the PCs (Zot, Jenny, and their friends) – sometimes because their goals are in accord; sometimes unaware that they are not; and sometimes despite the fact that he knows they are not.

In this, Zot! also highlights the value of giving the factions distinct ideologies which nevertheless overlap with each other. Let’s call these Venn diagram alliances: It’s a powerful technique because the points of commonality will drive the factions to work together, while the points of difference will create conflicts within those alliances which will eventually rip them apart. Remember that this includes the PCs! And, furthermore, remember that you, as the GM, don’t need to determine what the PCs’ agenda will be. These types of ideologically complex environments are great specifically because they force the players to make tough, meaningful choices.

One easy format for these ideologies are characters who desire the same outcome but disagree about how it should be accomplished. (And, inversely, those who desire different outcomes but currently agree on the necessity of a particular course of action.)

2. The keep-away. For each faction, you’ll want to know what tactics they use to steal the McGuffin (stealth, force, etc.) and, if they succeed in obtaining the item, what tactics they’ll use to secure Zot! - Assault on Castle Dekko - Scott McCloudit. Often this can be improvised during actual play, but if you’re unsure about improvising this sort of thing then prep exactly how each team will operate and what they will do (particularly when it comes to securing the item). And, of course, some of these elements will require prep for maximum effectiveness.

Dekko, for example, retreats to his fortress of Castle Dekko for defense. Another thief uses technological camouflage to hide in plain sight. Prince Drufus has a squad of attack robots at his command. The methods and resources you can design here – both mobile and static – are pretty much limitless, and you’ll want to try to vary things between factions. If everybody is just a squad of goons who then retreats to a fortified position, the scenario will become considerably less interesting.

3. The method to find the item. This is the dynamic that’s tricky to get right, but on which the whole scenario structure really depends. Because, as noted before, if somebody can grab the item and then just trivially disappear, the scenario just doesn’t work.

Zot! addresses this problem by giving the Key a unique radiation signature which can, with some expertise and knowledge, be used to track its general location. This includes tracking it to different planets and also into other dimensions, so there really is no way to escape and take the Key “off the board” (so to speak).

Zot! - Drufus and His Robots - Scott McCloud

Eventually, however, someone figures out how to cloak this radiation signal. This forces the other factions interested in the Key to intuit what the current holder of the key will use it for (i.e., opening the Doorway at the Edge of the Universe), allowing them to once again zone in on it (i.e., put the Doorway under surveillance and security).

Relying on this kind of intuition can be a little risky when it comes to RPG scenario design (since you can’t control exactly what your players will think of or when they’ll think of it), so for a more robust scenario you’ll want to use the Three Clue Rule. Remember that your clues can include intelligence from other factions that have made the intuitive leap. (“It looks like Indiana Jones is heading for Moscow. He must know something we don’t, let’s follow him.”) The web of alliances between factions can also allow you to become proactive here by having other players approach the PCs with an offer to work together (or simply slip them information they feel will be to their advantage).

The more general realization to make here is that this method of discovery very easily collapses into a chokepoint, and like any chokepoint it becomes a potential weak spot at which the scenario can break. If, for example, you design the scenario so that the PCs need to make a test in order to detect the Key’s radiation and they fail that test, that can very easily turn into the PCs having no idea what to do next.

So you want to avoid that chokepoint. In many ways you can think of this as the default action of the scenario (if the PCs have no idea what to do next, they can attempt to find the current location of the item). You’ll either want to make that default action automatic (so that failure isn’t possible), make it meaningfully repeatable (so that there’s a cost to failure, but you can always try again; a partial success test is another way of accomplishing this); or multiply it (so that if one method fails, the PCs can try another method; this would be a variant of the Three Clue Rule).

4. An endgame, usually in the form of an ultimate goal to be achieved with the item – delivering it somewhere, using it for something, preventing others from using it for a certain amount of time, or maybe just figuring out how to definitively destroy it or hide it so that other factions can’t use it. (This last point, of course, flies in the face of #3, so it should require significant effort of some sort in order to achieve this, giving other factions plenty of time to interfere before the endgame is truly achieved.)

Without some form of definitive endgame, the scenario will never end: The McGuffin will just continue being endlessly passed around. That’s not necessarily a bad thing, but what it usually means is a growing sense of frustration and futility as the scenario chews up its inherent interest but continues hanging around without any satisfactory resolution.

One variant to look at here is a PC-specific endgame: The great game surrounding the McGuffin continues, but the PCs have accomplished whatever their goal regarding the McGuffin is and are content to exit on their own terms.

SIMPLIFY THE STRUCTURE

Zot! is big and it’s complicated. The scope is multidimensional and multiplanetary, with time travel complicating things even further and the fates of entire worlds at stake. Rather than immediately tackling something of this scale, it might behoove us to take our scenario structure out for a test drive with something a little more modest.

The Maltese FalconLet’s try this: The Maltese Falcon has, at long last, been found. Its value is immense, but particularly so to the practitioners of the ancient rites of magick, who know its true purpose. It has been placed as a lot in highly exclusive, black market auction that takes place aboard a small, ultra-luxury cruise ship on the high seas.

This premise allows us to further control the scope of the scenario: Barring extraordinary efforts, the action will be confined to the ship until it comes back into port. Neither the PCs nor anybody else will be able to vanish as soon as they’ve stolen the Falcon.

In addition to deck plans for the ship (which you can probably find online), you’ll also want to prep:

1. The factions involved. This will include the current owner of the Falcon and the security team for Penumbral Holdings, the mysterious organization behind the black market auction. Let’s also toss in a couple of sorcerous sects plus a team of mundanes (who just want the Falcon for its jewels and are way out of their depth here).

2. For the keep-away, you’ll want to prep the initial auction-related security protecting the Falcon. Maybe the PCs are the first ones to steal it, maybe they’re not. Either way, you’ll want that initial condition.

3. For the next step, we need to take a step back and think about how we want to organize our prep for this boat. I’m going to argue that we can prep the week at sea as a big social event, using the party planning scenario structure. Parties are usually short affairs, but the structure can easily be expanded to multiple events over several days. Nick Bate and I did something similar for the second part of the Quantronic Heat mini-campaign for Infinity.

With that knowledge in our pocket, we can now consider the method to find the Falcon. For the sake of argument, let’s say we’re running this scenario with Fantasy Flight’s Genesys system. In that case, we might look at something like this:

  • You need to achieve X number of successes over any number of checks in order to figure out who currently has the Falcon. Primary checks would focus on social interactions with the other factions onboard. Investigating where the item was stolen from could also contribute additional successes. (Alternative methods might also include sorcerous divinations.)
  • Advantages on these checks can be used to determine aspects of how the item is currently being secured (guards, security measures, etc.).
  • Disadvantages or Despair might alert one or more of the other factions about the PCs and their intentions. Or attract the attention of Penumbral Holdings’ security team.

4. Our endgame here is simplified by the constrained premise we’ve used: When the ship makes landfall, whoever is currently holding the Falcon will most likely be able to vanish without a trace. The goal of the PCs is to be the one holding the Falcon when the clock runs out.

A possible wrinkle on our endgame is a simple question: Why would Penumbral Holdings put the ship into dock if the Falcon is still missing?

The primary explanation might be exigent circumstances: There may be people onboard that Penumbral Holdings can’t afford to piss off. Or the sorcerous wards preventing teleportation might expire at the end of the week no matter what. Or the true nature of members of Penumbral Holdings prevents them from remaining on the material plane of existence for more than a week.

Alternatively, this might become part of the action: Those holding the Falcon (including the PCs) may need to hijack the ship and bring it into port so that they can make good their escape. Or there’s a rendezvous craft that’s going to arrive at such-and-such a time.

RUNNING THE KEEP-AWAY

The spine of our Maltese Falcon scenario is the social event, advice for which can be found in the original Party Planning article. For the factions, you’ll probably want to prep progressions like those we discussed last week in Race for the Prize.

The social event spine is really a crutch of sorts, giving you a firmer structure to fall back on and build the McGuffin Keep-Away on top of. In its absence, you should be able to just keep spinning events forward through a combination of your faction progressions and responding to the PCs’ actions.

The first issue of Zot! for example, could be framed as the GM triggering the following progressions / faction features:

  • THIEF: Attempts to use an interdimensional portal to hide the Key on Our Earth.
  • SIRIUS IV: Successfully tracks the Key [locating it on Our Earth] and dispatches a robot kill squad to its location.
  • [At this point, the PCs – who have been keeping an eye on the Sirius IV faction – track the robot kill squad to Our Earth and destroy it. They also find the Key and choose to turn it over to the proper authorities in the form of the CPZP.]
  • THIEF: Checks his hiding place. [Finding the Key missing, he tracks it.]
  • THIEF: Uses a stealthed robot to steal the Key.
  • DE-EVOLUTIONARIES: Track the Key and brazenly attack [the CPZP council meeting].
  • [The PCs fail to detect the Key being stolen and fight a big battle with the De-Evoluationaries.]

The linear nature of this, mirroring the structure of the original story, may be deceptive. So consider how the GM can trigger the exact same progressions but end up with a completely different result based on the actions of the PCs:

  • THIEF: Attempts to use an interdimensional portal to hide the Key on Our Earth.
  • SIRIUS IV: Successfully tracks the Key [locating it on Our Earth] and dispatches a robot kill squad to its location.
  • [At this point, the PCs – who have been keeping an eye on the Sirius IV faction – track the robot kill squad to Our Earth. They fight, but lose. The robot kill squad captures the Key, but the PCs aren’t aware of this fact. The PCs regroup and pursue the robot kill squad.]
  • THIEF: Checks his hiding place. [Finding the Key missing, he tracks it.]
  • [PCs arrive back at the home base of the robot kill squad and continue their surveillance. The Sirius IV faction leaders, learning that the robot squad has secured the key, board a shuttle and begin flying towards the compound.]
  • THIEF: Uses a stealthed robot to steal the Key.
  • [PCs don’t spot the thief’s robot sneaking into the Sirius IV compound.]
  • DE-EVOLUTIONARIES: Track the Key and brazenly attack [the Sirius IV robot compound].
  • [The PCs notice the stealthed robot sneaking back out of the compound in the chaos. They attack that robot as the Sirius IV shuttle arrives onsite. The Sirius IV representatives spot the PCs, but are ambushed by De-Evolutionaries as they move to intercept. The PCs destroy the thief’s robot and take the key back. Taking the ruined remnants of the robot back to Zot’s Uncle Max, they use it to identify the thief.]

In actual play, what you’ll generally end up with is a cluster of raid (when the PCs go to steal the McGuffin) and siege (when the PCs have the item and need to protect it) scenarios. The more the factions interact with each other, the more crazed these scenarios will become.

BEYOND THE DOORWAY

Our use of the Maltese Falcon in our hypothetical scenario already points the way towards the Dashiell Hammet novel and John Ford movie as another example of this scenario structure in other media. As with Zot!, the scenario begins with the McGuffin already in keep-away mode. (You could also interpret that back story of The Maltese Falcon – with various treasure seekers attempting to trace the Falcon’s trail – as a Race to the Prize scenario, the conclusion of which then bounces directly into a McGuffin Keep-Away scenario).

Casablanca

Another Humphrey Bogart film to consider is Casablanca, in which the letters of transit function as the McGuffin. The thing to note here is that even though the McGuffin DOESN’T change hands repeatedly, the narrative remains interesting. So don’t feel as if you need to force the item to bounce around amongst your various factions: It’s perfectly okay if it settles into the hands of the PCs (or some other faction). As other factions come to barter with (or threaten) the controlling party, the drama will continue to flow.

Crouching Tiger, Hidden Dragon - Ang Lee

Crouching Tiger, Hidden Dragon is an interesting example to break down. There are fewer factions, but a larger number of rogue agents pursuing independent goals within the arena defined by the McGuffin Keep-Away. Consider, too, that the McGuffin in this case – the Green Destiny sword –  has a specific utility which is useful for the keep-away itself. This not only creates an interesting transition of advantage as the McGuffin bounces around, but also encourages the faction currently controlling the item to use it, often creating large, clear paths for the other factions to follow.

Go to Challenge #4


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