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Vagabundork asks, “Why would the PCs accept these missions? Why would a satanist neuroscientist, a self-hatred writer, and a Colombian telenovela actress get involved in a scenario like this? (…) It usually falls to the, ‘we are a paranormal investigation agency’ which (…) removes all that makes cosmic horror awesome.”

There are a few ways to handle this, generally speaking.

First: Get the players on board during the character creation process.

It’s not solely your responsibility, as the Game Master, to explain why all these characters are hanging out together. As they’re creating the group, make sure the players figure out why these characters are operating together.

“We all have a job in the same organization” (i.e., the paranormal investigation agency) is an easy fits-all-scenarios answer to this, but it’s hardly the only one. What do they care about? What common goal do they all share? What secret do they all have in common?

Once you know what makes them a group, you can hang your scenario hooks off of it. This works even if their connection seems mundane and unrelated to whatever the scenario is. For example, let’s say they decide that they all work at the same comic book shop. Great, now you can threaten the store. Or have some strange person/creature come into the store. Or maybe the whole structure of the campaign becomes tracking down rare issues of comic books for resale, and the weird places, people, and estate sales they track down to obtain those issues also get them tangled up in whatever the scenario happens to be.

If they all share a dark secret, then a scenario hook just needs to threaten that secret in some way to pull them all in. Or they can all be blackmailed by the same mysterious patron.

Note: Just because the players are all collectively figuring out what binds their characters together, this doesn’t necessarily mean that the characters all know each other when the game begins! For example, they can all want to find the Ruby Eye of Drosnin or figure out the Truth About the Templars and be actively pursuing that without pursuing it together (at least not initially), which can also tie into…

Second: Use separate hooks.

If you design scenarios that are awesome situations instead plots, then you’ll discover that your scenarios aren’t generally limited to a single scenario hook: The cooler and more dynamic the situation, the more places there are to hang your hooks. Vagabundork’s question actually came in response to one such discussion (Scenario Hooks for Over the Edge), and you can also check out Juggling Scenario Hooks in a Sandbox for a different perspective on the same basic concept.

This also means that you don’t have to come up with a single explanation for why all of the PCs are involved in the current scenario. They can all be there for completely different reasons, quite possibly pursuing very different agendas.

It’s not unusual to have an initial scenario that works like this, but then the expectation is that, at the end of the scenario, all of these characters will decide that this was a jolly good time and they should all hang out doing similar stuff from now on. This can work very well in games that have a strong in-fiction conceit for small groups of freelancers coming together like this: D&D adventuring parties or Shadowrun teams, for example.

This is also, however, only the most generic version of this, and you can get a lot of mileage out of the same technique by making it specific. For example, during the first scenario all of the PCs get sprayed by a strange blue goo and now they share a common curse. Even if they don’t decide to all team up to figure it out together, they now all have a common goal… which means we’re back in scenario one and you can easily keep hooking them back into the same blue goo-related scenarios. If you can figure out a way to do this that ties into their specific character arcs and backgrounds, then you’ll get results that are even more specific and, as a result, powerful and meaningful.

This technique can also work well when combined with time skips: If the PCs are all pursuing different agendas, then it would be weird for those agendas to all coincidentally cross paths with each other every couple of days. But if you have a really cool scenario, wrap it up, and then deliberately skip a few months or years (or decades) until the next time these characters all happen to cross paths again, that can be a really cool conceit.

A specific variation of this technique is…

Third: Make them enemies.

Or, more specifically, set them in opposition to each other.

This is a technique I discuss in more detail in Technoir and PvP. The short version is that a good, situation-based scenario doesn’t actually need the PCs to be working together. It can often be even more interesting if they’re working in opposition to each other.

Raiders of the Lost ArkThe simplest variation is to have different characters who both want the same thing and are in competition with each other for it. For example, Belloq and Indiana Jones from Raiders of the Lost Ark. The film not only contains two completely separate scenarios between these two antagonists, it reveals that they’ve been crossing paths like this over and over and over again for years. If you imagine them both as PCs, that sounds like an incredible campaign.

Another variation is to set things up so that one of the PCs is literally the objective of the other PC. Putting a bounty on the head of one of the PCs is a one-size-fits-all solution to this. The TV show The Fugitive, for example, uses this gimmick. If it was a campaign, the GM only needs to figure out how to hook Richard Kimble into each scenario… and then Lt. Philip Gerard will come following right behind.

This state of antagonism doesn’t have to be entered into with the expectation that it will last in perpetuity, however. When the PCs discover that their antagonism was all a big misunderstanding or, after being forced to work together, realizing that they actually make a really great team, this can collapse into Scenario Two above. (See, for example, basically the entire The Fast & the Furious franchise.)

When using this technique, however, you need to be prepared to actually lose PCs, either because they’re killed or because they just don’t want to work together. That can be OK. (Having one of the PCs leave only to return several sessions later as an antagonist not only for the original PC but for the new PC played by the antagonist’s player can be really cool.)

Fourth: Give them a patron.

When all else fails, patrons make scenario hooks easy: They tell you what your next gig is and then you do it.

The other nice thing about a patron is that you don’t need to figure out why all the PCs know each other or want to work with each other: You just need to figure out (a) why the patron would want to hire each of them individually and (b) why each of them would be willing to take the gig.

The fact that PCs tend to be hyper-competent usually provides the generic answer to the former. Money is a one-size-fits-all answer for the latter.

Nothing wrong with these generic answers, of course. Shadowrun basically builds a whole game around those answers and it does so very successfully.

But, once again, making things more specific instead of generic is generally going to give you better results. Fortunately, it’s generally easier to do this specifically because you don’t need to have the same answers for each PC.

You can also, once again, get the players onboard with this process during character creation. For example, the first time that I ran Eternal Lies, I simply asked the players to make sure that their character backgrounds explained why someone would be interested in hiring them to look into paranormal weirdness. The answers they came up with were all over the map (Chicago cop who got a string of weird cases; girl detective and her brother working amateur paranormal cases in London; combat pilot; author of Fortean nonfiction masquerading as ‘weird fiction’), but also chock full of awesomeness that made it easy to explain why their patron might want to pull them together to investigate her father’s mysterious legacy.

The second time I ran Eternal Lies, however, some of the players ended up with concepts that weren’t as clear-cut in terms of why a patron would seek them out. But we were still able to work together to figure out more personal connections justifying the hire. (For example, one of the characters had been previously involved with a friend of the patron. Another had briefly encountered her father and was, as a result, mentioned in the mysterious notes the group was being hired to investigate.)

Alternatively, maybe the PCs all DO have the same reason for working for the patron: Making that infernal pact so that you could all open a comic book store together sure seemed like a good idea at the time, but…

Another good variation here is to make one of the PCs the patron. See Ocean’s Eleven, for example. This, once again, narrows the focus of the scenario hook down to the desires of a single character, while simplifying everyone else’s involvement down to the question of why someone would want them on the team (which will generally boil down to expertise).

You are Cute. You are Cunning. You are Fierce. You are Magical Kitties, and it’s time to Save the Day!

Magical Kitties Save the Day is the new RPG from Atlas Games. Designed by Matthew J. Hanson, I’ve spent the last few months heavily developing the game and outfitting it with a bunch of new, awesome content.

Every Magical Kitty has a human. Every human has a Problem. In Magical Kitties Save the Day, you need to use your magical powers to solve problems and save the day!

But kitties live in Hometowns that are filled with Troubles like witches, aliens, and hyper-intelligent raccoons. Troubles make Problems worse, so the kitties need to go on adventures to take care of the Troubles before that can happen.

“It’s exciting, fun, cool… It makes me want to do more of it over and over because every time is unique. You can fly. You can do the impossible… nothing is impossible!” – Emma Nephew, Age 9

Magical Kitties Save the Day is designed for all-ages. Older players — whether they’re parents, babysitters, teachers, or older siblings — can be the Game Master for kids as young as six-years-old and everyone else who loves kitties. If you’ve been looking for a way to introduce your friends and family to roleplaying games, Magical Kitties is the perfect game to do it!

You’ve never played a roleplaying game, either? (That seems unlikely here on the Alexandrian, but…) Purr-fect! Magical Kitties includes a lot of tools — including a solo play module so that you can start playing within moments of opening the box! — and guidance for both first-time roleplayers and first-time GMs. Whether you’ve played board games with roleplaying elements like Mice & Mystics or T.I.M.E. Stories, watched actual play videos, or just think roleplaying games sound like a lot of fun and you want to give them a try, Magical Kitties can be your first step into a larger world.

In addition to Matthew and myself, our creative team includes Paul Dean (formerly of Shut Up & Sit Down), Clio Yun-su Davis (winner of the Golden Cobra Challenge award), Jeremy Tuohy, Chris Costello, Anthony Cournoyer, Ekaterina Kazartseva, Garth Graham, Brigette Indelicato, Joseph Siemsen, Colleen Riley, and Thomas Denagh.

Check out Michelle Nephew’s post about running a three-year-long campaign of Magical Kitties for her daughters.

Or sign-up for sneak peeks and an e-mail notification when the campaign launches on July 16th!

Or RSVP for our virtual launch day party, which will include a Q&A with Matthew and I!

Feng Shui 2 - Hong Kong Task Force 88

Hong Kong Task Force 88 was included in Free RPG Day 2016 as an introduction to Feng Shui 2. (You can still grab a PDF of it for free.) We’ve being using the scenario at conventions as part of Atlas Games’ Special Ops program. Our playtesting, however, has revealed that the scenario is running a little too long to fit comfortably into our four hour convention slots.

These notes, therefore, are designed to streamline the adventure, reorganizing its core structure largely around a 5 Node Mystery (with a twist!). You’ll need a copy of Hong Kong Task Force 88 to provide full background details and stat blocks. These notes are also likely to make more sense if you have already read the original scenario.

INTRODUCTION

A new designer drug is ravaging Hong Kong. DietRiot has exploded both uptown and downtown; it seems equally appealing (and equally available!) to both the upper classes and the lower classes. Reports on what the drug actually does are all over the place: Some describe it as a methamphetamine. Others as a hallucinogenic. It also appears to be almost supernaturally effective as a diet drug.

The authorities have decided action must be taken. A special task force – Hong Kong Task Force 88 – has been formed. You have all been selected (or volunteered) to be a member of this task force.

As you choose your characters, think about why or how your character was selected.

SCENE 1: THE DOCKS

  • Generally effective to have 1-2 of the PCs be the “local cops” who are meeting the others at the Docks.
  • Allow time for a brief discussion.

THE FIGHT: Blondie calls out some insult from the end of the dock. They turn to see him and a bunch of mooks wielding machetes.

  • Blondie (HKTF88, p. 10) – make sure to mention the wifebeater he wears covered in English swear words
  • Machete Mooks (HKTF88, p. 11) – 2 per PC

DURING THE FIGHT: At least one of the PCs should see Jian Wu watching the fight from the roof of a nearby warehouse. He has a distinctive dragon tattoo on one cheek. As soon as they notice him, he walks away from the edge of the warehouse and disappears.

SCENE 2: INVESTIGATION MONTAGE

Hard cut from the end of the fight to the precinct headquarters Task Force 88 is based out of.

CHEWED OUT BY THE CHIEF: The local police chief is screaming at them about property damage, disturbance of the peace, wielding weapons (do you know how much paperwork?!), etc. Whatever happened during the awesome fight in Scene 1, he’s pissed off about it. “GET OUT OF MY OFFICE!”

  • After the door slams shut behind them, the rest of the detectives at their open office desks give the PCs a round of applause. One of them whispers that the chief is actually very impressed and wants them to keep up the good work.

TASK FORCE OFFICE: The Task Force has been assigned a random office in the precinct headquarters. There’s not a lot in there right now: A thin file folder with the DietRiot case file. An empty file cabinet. A desk. An empty cork tackboard.

  • Note: Establish the tackboard because you’ll frame up on it later.

INVESTIGATION MONTAGE: Tell the players you’re going to do an investigation montage: Each of them will choose one line of potential investigation. Likely options include:

  • Checking the casefile.
  • Trying to track down that guy with the weird tattoo they saw.
  • Roughing up local dealers for information.
  • Talking to an old friend or other local contact for information.
  • Analyzing samples of DietRiot in the crime lab.
  • Conducting drug buys to roll up the local distributors for interrogation.
  • Putting surveillance on known DietRiot dealers and monitoring their communications.

The actual methods they choose don’t matter except by context. Group them together in ways that make sense and present fast-paced, hard-hitting sequences that rapidly spill out the three major leads:

  • There is a victim of DietRiot named Fen. You can talk with her at the Lucky Cat Apothecary.
  • Jian Wu (“the guy with the tattoo”) can be found at the Neon 77 club.
  • There are a pair of well-connected street dealers named Snake Eyes & Ed who are selling out of the Bird Gardens.

Each of these point to one of the Scene 3 investigations.

SCENE 3: THE INVESTIGATIONS & THE FIGHT

There are three different leads that the PCs can pursue after the investigation montage. Generally speaking, the order in which these scenes occur doesn’t make a difference.

At some point during this sequence, Blondie’s brother shows up. He’s pissed off that the PCs killed/arrested his brother and he’s looking for revenge.

(This probably works best with Scene 3A or Scene 3B, as Scene 3C already has a fight sequence in it.)

THE FIGHT:

  • Blondie’s Brother (HTKF88, p. 14): He wears the same wife-beater that Blondie does, but his is covered with swear words in Chinese. And he has a pair of katanas, because everyone knows katanas are better. (To be honest, Blondie and his brother are basically tools.)
  • Fist (HKTF88, p. 14)
  • Reaper’s Boys (HKTF88, p. 15) – 2 per PC
  • Interrogation: If interrogated, these mooks can give up the location of Reaper’s lab (see Scene 4).

SCENE 3A: FEN & LUCKY CAT APOTHECARY

  • This scene is described in HKTF88, p. 12-13.

Key Clues:

  • Reaper’s Card
  • Fen’s grandmother thinks the drug blocks chi

SCENE 3B: JIAN WU @ NEON 77

  • Neon 77 is a glitzy club of chrome, mirrors, and trance music.
  • Or maybe it’s a sedate club with soft-tune jazz disco balls casting starscapes on the walls. Whatever works.

Jian Wu is framed differently in this version of the scenario:

  • He has a dragon tattoo on his cheek.
  • He’s Reaper’s Kowloon dealer for DietRiot.
  • He’s not happy: The money was good; now he thinks it was too good. The drugs are too cheap; there must be some hidden agenda behind all this, but he hasn’t figured out what it is.
  • He can point the PCs in the direction of Reaper’s lab (see Scene 4).

SCENE 3C: THE BIRD GARDEN

Banyan Tree

This scene is heavily revised for this version of the scenario.

  • Snake Eyes & Ed (HKTF88, p. 10) are selling DietRiot in the Bird Garden (as described HKTF88, p. 17).
  • Rather than an out-of-control talent manifestation, Ed casts spells to summon the fireworks foes (HKTF88, p. 18):
    • He summons the first one on his first turn.
    • On each subsequent turn, he can initiate a 5-shot action. If not interrupted, at the end of those 5-shots another fireworks creature is summoned.

In one run-through of this scenario I had Snake Eyes open up a door in the side of a tree and run through it, emerging back at Reaper’s lab. You could do that; or maybe it just turns into a chase sequence.

Key Clues:

  • They know the drug blocks Chi.
  • They can point the PCs in the direction of Reaper’s Lab (see Scene 4).

SCENE 4: REAPER’S LAB

This scene is described on HKTF88, p. 20-21.

  • Don’t bother including Jian Wu.
  • The key framing is that the PCs can observe the grungy warehouse from outside; and then only later catch a glimpse or burst into the gleaming, ultra-clean drug lab inside filled with scientists in hazmat suits watched over by goons in suits with SMGs slung over their shoulders.

THE FIGHT:

  • Repeat (HKTF88, p. 21)
  • Alora (HKTF88, p. 21)
  • Mittens (HKTF88, p. 21) – I gave him the ability to jump around like a cat. Pretty much entirely descriptive, but gave him some nice
  • Gangsters (HKTF88, p. 22) – 3 per PC

THE BIG FINALE?

In my playtests, time was generally running out at this point. The fight in Reaper’s Lab provides a great conclusion here, and you can generally wrap it up here.

Alternatively, the action can be carried into Scene 5 with these clues:

  • Questioning anyone in the laboratory indicates that the drug design comes from the company DruDekTel.
  • Searching Reaper’s unconscious/dead body finds a business card for Curt Raglan of DrukDekTel.
  • Looking at the documentation in the lab links the process back to DruDekTel

SCENE 5: DruDekTel HEADQUARTERS

Okay, you know that incredible long-take fight from Tony Jaa’s The Protector? The one where he fights his way up a long spiraling ramp inside an office building before finally reaching the luxurious office of the Big Boss at the top?

You’re not? Okay. Watch that.

Yeah. We’re going to do that: DruDekTel’s HQ has that same architecture, with a big hollow center and a spiraling ramp that goes from one level to the next.

Things they can encounter on their way up:

  • Massage parlor.
  • Tea shop.
  • Office cubicles.
  • Slot machines.
  • Food court.
  • Copy machine nook.
  • Video conferencing room.
  • Drug research lab.

Have 3-5 levels. Each level has a number of mooks (use Reaper’s Boys and the Gangsters) equal to half the number of PCs.

Curt Raglan’s Office: At the top is Curt Raglan’s office.

  • Curt Raglan (HKTF88, p. 22)
  • Gangsters (HKTF88, p 22) – 1 per PC

During the fight, have Raglan monologue loudly about the true purpose of DietRiot:

  • We will seal magic away forever by blocking chi!
  • You fools are putting the entire world in danger! You can’t imagine the real stakes!
  • The Guiding Hand will protect him. They cannot possibly win!
  • The testing is almost complete! As soon as it stops killing people – well, as soon as they can get the mortality rate down to a reasonable level – they’ll put it in the drinking supply!
  • The Four Emperors will never return!

Yada, yada, yada, and so forth.

Many moons ago, I wrote Prep Tips for the Beginning DM, a super-streamlined set of guideposts for a first-time DM to follow. The advice was aimed specifically at D&D/Pathfinder GMs, and over the years I’ve received a number of queries about how GMs can get started with other systems. The truth is that the advice is largely transferable. For example, here’s how you could get started running a fairly typical cyberpunk campaign where the PCs are a crew that runs heists and similar jobs in the style of William Gibson’s Neuromancer.

(You might be starting up a new Shadowrun campaign. Or maybe you’re hyped about the upcoming Cyberpunk 2077 and want to run a game like that for your friends. Whatever works. This advice is widely applicable.)

(1) Start with a simple run featuring a location-based crawl. Keep it simple! Make it a single building with maybe a dozen rooms. Keep the challenges inside the building firewalled (i.e., the PCs can generally muck around in Room A without also bringing everything in Rooms B-Z down on their heads) with the possible exception of a roving security patrol that will also respond to triggered alarms. Keeping things compartmentalized will make it easier for you to run; it’ll also give your players a chance to figure out their characters and the system.

(2) Do a couple of those. You can slowly start building the complexity. Introduce adversary rosters so that the complexes become more dynamic and active. This will increase both the challenge for your players in planning out their runs and the complexity for you in actually GMing those runs.

(3) Take a look a the Three Clue Rule and use it to create a linear investigation scenario: Go to Location A, find clues that lead to Location B. At Location B, find clues that point to Location C. Repeat until you reach the conclusion.

LINK IT TOGETHER

It’s okay to just run a purely episodic campaign where each run is independent from the last. But here’s a simple example of how you can link all of these things together: The PCs are hired by somebody to do a couple of jobs. Then their patron calls them with another job, but when they show up for the briefing they find him dead. Now they need to figure out who did it.

Discovering who their patron was, what he really wanted, and why he was killed will either wrap up the mini-campaign or wrap up Act I of the ongoing campaign and give you a nice launchpad for the rest of the game.

Note: You don’t need to prep all this before you start play. In fact, you shouldn’t because you’ll be learning stuff in play that you’ll want to implement in the next scenario you design.

All you need to get started is #1: A simple run.

As you’re wrapping up Act I, take a look at Don’t Prep Plots and Node-Based Scenario Design. Use those to build an Act II.

Read More at Gamemastery 101

IN THE SHADOW OF THE SPIRE

Session 20A: Funeral for a Python Viper

Ptolus - The White House

The Necropolis had been built upon a low bulging hill that lay just along the Cliffs of Lost Wishes at the eastern edge of the city. As they moved a little further into the Necropolis, therefore, they were able to look over the top of the mausoleums and see seemingly endless rows of gravestones dotted with crypts of various sizes running up the hill. In the farthest distance, an the edge of the cliffs themselves, they could see an enormous, castle-like building.

I’ve talked about foreshadowing here on the Alexandrian before.

In Random GM Tip: Foreshadowing in RPGs, for example, I talk about the difficulties of foreshadowing in a non-linear, improvised medium (and three techniques you can use to work around that).

Random GM Tip: Adaptation & Reincorporation discusses how meaning is built over time through the repetition and reincorporation of creative elements. I also discuss the fact the foreshadowing can be thought of as the repetition or reincorporation of material at a point in time before the moment you actually created the material for.

For example, I know that certain features of the Necropolis are likely to become important later in the campaign, and so when the PCs arranged a funeral for Elestra’s python viper, I made a point of including some of those features (like the Dark Reliquary) into my description of the Necropolis.

This is also an example of opportunistic foreshadowing.

I didn’t plan for Elestra’s python viper to die. And I didn’t plan for her to arrange an expensive funeral for it. So I didn’t plan this bit of foreshadowing. I simply seized the opportunity while improvising the scene.

(You may note that this is not exactly hardcore foreshadowing, either. It’s literally just describing something that the characters happen to see. Which is fine. The point is to pre-establish elements so that when they later become the primary focus, they’ve already become an established part of the players’ understanding of the world.)

Session 20 is actually filled with examples of opportunistic foreshadowing.

When the PCs head to the Cathedral to seek advice from Silver Fatar Rehobath, that’s actually an example of how foreshadowing can build on itself: I had included Rehobath on the guest list for the Harvesttime party at Castle Shard because I wanted to establish his presence for later in the campaign. That’s an example of planned foreshadowing. It also put Rehobath on the PCs’ radar, though, and helped prompt them to seek his counsel here.

The inclusion of Prelate Adlam as the priest who recognizes Tee and gets her an audience with Rehobath, on the other hand, is an example of opportunistic foreshadowing. (He has his own significant role to play in future events.)

There’s also the White House: A gambling house that I know will become the center of attention later in the campaign. I’d already put together a planned bit of foreshadowing for the White House at this point (you’ll get to see that play out starting in Session 34; the actual pay-off starts in Session 91), but that’s no reason to forego the opportunistic foreshadowing here when Tee goes looking for a place to gamble.

The mrathrach game she sees being installed is also opportunistic foreshadowing, as is the strangely garbed knight she sees later in the Dreaming. (Tee’s training in the Dreaming Arts will frequently offer incredibly rich opportunities for both planned and opportunistic foreshadowing.)

If you want another example of planned foreshadowing, check out Running the Campaign: Foreshadowing Encounters.

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