September 7, 2016

How to Write a Character Personality

Your character is more than a collection of stats and plot hooks.  Unless you're comfortable with a lot of bleed-in (and some people are), you probably want your character's personality to be distinct from your own.  You want to pretend to be someone else -- not just yourself with magic and armor.

In the past, I've talked about how to write a character background.  That's a great way to build a rich character with goals and enemies and connections.  But it doesn't finish the job:  You still need a personality.

There are a lot of ways to generate a character personality.  D&D has the famous alignment system, which I've written about in the past.  The World of Darkness has Virtues and Vices (and previously, Nature and Demeanor).  Other RPGs have had all kinds of other systems for helping you build your character's personality.  Some give you a mechanical incentive to act a certain way.  Others are a list of behaviors you're supposed to avoid or always do.

Regardless of the system the RPG you're playing uses, the best way to build a quick and memorable character personality that's easy to play and hard to forget is to use a list of absolutes.

Absolutes are behaviors your character always or never does, even when it would be pretty stupid to stick to them.  And absolutes are not just for "lawful stupid" paladins (priests, detectives, officers, etc.) and stick-up-the-butt elves (ventrue, wizards, high society types etc.).  Easy-going slackers and anti-authoritarian rakes have absolutes, too.

Consider the holy roller paladin who never murders sentient creatures.  When the party plans to ambush some bandits, the paladin refuses to join in.  "They're not hurting anyone, just walking through the forest.  It's not self defense.  I won't just kill them."

But also consider the foul-mouthed fighter who always mouths off to authority.  "Hey your high muckety muck-ness, you got your forest cleared of bandits.  Now what do I get for sticking my neck out, huh?"

How To
Pick at least two and at most five absolutes for your character and write them down somewhere you'll always see them, such as the top of your character sheet.

Revise them to make them as short and sweet as possible.  You can always explain to others that "Never Murder" means never kill a sentient living being without first giving it a chance to surrender or flee (as appropriate). But it's easier for you to write "Never Murder" on top of your character sheet, so you never forget it's there.  You just need the constant reminder.

Topics
Absolutes relate to specific topics.  Those topics are social norms - norms of respect, harm, autonomy, responsibility, purity, chastity, honor, honesty, politesse, etc.  Your character probably doesn't have an extreme position on every cultural norm, but here's a list of common cultural norms you might have an absolute position on:

  • Dignity/Vanity:  ALWAYS respond to an insult.  NEVER expect to be treated with respect.  ALWAYS downplay my achievements and value.  NEVER let someone call me anything but Sir or Sir Henry.  NEVER go out in public in shabby clothing.  ALWAYS exaggerate my accomplishments.
  • Respect:  ALWAYS call people sir or m'am.  NEVER use a noble's title.  ALWAYS push people's buttons and provoke them to anger.  NEVER show disrespect to my elders.
  • Piety:  ALWAYS show respect to the gods, even the dark ones.  NEVER trust a priest.  ALWAYS make sacrilegious jokes.  NEVER leave the dead unburied.
  • Self-Control/Gravitas/Temperance:  NEVER show emotion.  ALWAYS try to get people to laugh and cheer.  NEVER talk about my family because it hurts too much.  ALWAYS cry when someone I know dies.  NEVER repeat myself unless asked to.  ALWAYS go straight to death threats when things don't go my way.
  • Forgiveness:  NEVER forgive a wrong.  ALWAYS forgive and forget wrongs against myself (never against innocents).
  • Chastity/Purity:  NEVER drink alcohol or take drugs.  ALWAYS get blitzed between adventures.  NEVER turn down seductions.  ALWAYS flirt with attractive NPCs.
  • Prudence/Recklessness:  ALWAYS touch the shiny.  NEVER walk into a situation without an exit plan.  ALWAYS get it in writing.  NEVER trust an elf.  ALWAYS trust women.  NEVER compromise (my way or the highway).  NEVER make a threat I'm not willing to carry out.  
  • Exchange:  ALWAYS return a favor immediately (NEVER let someone have a debt over me).  NEVER do something for nothing.  ALWAYS give generously, tip generously, and share my wealth generously.
  • Courage:  NEVER stick my neck out for a stranger.  ALWAYS protect those weaker than myself, even unto death.  NEVER kill a fleeing foe.  ALWAYS be the first through the door.  NEVER ask someone to do something I wouldn't.  ALWAYS avoid scandal and shame.
  • Loyalty:  NEVER let a friend down.  NEVER make promises.  ALWAYS look out for number one - everyone else can go to hell.  ALWAYS repent for a mistake.
  • Honesty:  NEVER tell a lie.  ALWAYS try to convince people I'm on their side.  NEVER pretend to be who I'm not.  ALWAYS seal a bargain with a drink.  ALWAYS punish people who break their promises to me.


How Absolute is Absolute?
The mood of the game you're playing in will set how absolute your rules should be.

Superheros get to have absolute ethical boundaries that always seem to work out in the end.  No matter how dumb it seems that Batman doesn't just kill the Joker, it still works out OK because even if the Joker escapes Arkham, Batman always catches him again before he pulls off some horrible scheme.

But in a horror game, you're damned if you do, damned if you don't:  If you act against your instincts under pressure, you'll suffer for it.  If you stubbornly stick to your bad habits or morals, you might become a martyr to them.

Gritty mood games tend to push your boundaries, offering you chances to break from your absolutes and have your character evolve, or else suffer for their decisions (both of which are interesting developments).  The ethical paladin becomes more of a cold-blooded pragmatist and is judged for it.  The mouthy rake learns when to hold their tongue and grows as a person.

Character Growth
Your character might grow and change.  Absolutes give you a great opportunity to do so!  When you encounter a situation where your absolutes are tested, you can choose to act according to your absolutes and suffer the consequences or act against them and grow as a character.

If you stubbornly martyr yourself to your absolutes, you can choose to see the effect it had and regret it or defend your principles to the last.  If you stray from your absolutes, you can regret it and see it as a one time mistake, or you can realize you've been wrong all along and evolve as a person.

September 1, 2016

Smarter Theater of the Mind Mechanics

5th Edition D&D claims to be based around Theater of the Mind action.  The Starter Set doesn't come with any printed maps or miniatures, and the default mode of play is pure imagination.  The problem is that the designers describe everything you can do in terms of feet of distance.  They made no effort to overhaul the classic D&D "20' sphere" and "30' movement rate" to use actual Theater of the Mind range, movement, and positioning mechanics.

So I wanted to share with you a few ways a competing fantasy RPG - 13th Age - handles "theater of the mind" that you could house-rule into your 5e games.  13th Age is not some fan created hack (no offense to all the awesome fan hacks out there).  It was written by Rob Heinsoo and Jonathan Tweet, lead designers of 4th and 3rd edition D&D, and published by Pelgrane Press, an experienced, thriving game company with a vast library of ENnie award-winning titles, including 13th Age (which took silver for Best Rules in 2014).

Before we start, you should be aware that 13th Age has an SRD, so everything I'm talking about is publicly available at www.13thagesrd.com.  I recommend if you like what you read, that you go buy the 13th Age core book, because the art is phenomenal (you don't get that from the SRD!) and the game is great.  I like Pelgrane so much I just linked their page directly instead of using my amazon affiliate link (not that those ever generate any income, but it's the principle of the thing.)  Also, the Theater of the Mind combat rules are only one of 13th Age's interesting and innovative mechanics.  Go check it out!

On to the meat of the article.  The four things you need to consider with theater of the mind tactical combat are...

  1. Range and Movement
  2. Positioning, Tanking, and Intercepting
  3. Area of Effect Magic
  4. Retreat
This is an article for 5th Edition D&D DMs struggling with Theater of the Mind action.  So I'm going to cover how 13th Age handles these four things, and give you a tip after each that will help you improve your 5th Edition D&D game by importing some wisdom from 13th Age.    



Range and Movement

There are three ranges in 13th Age:  Engaged (you're right next to them), Nearby (you can get to them in one move), and Far Away (two moves away from enemies, possibly more).  Ranged weapons fall into three categories.  Some can only hit Nearby enemies (thrown dagger), some can hit Nearby enemies and also Far Away enemies at -2 (javelin), and some can hit Nearby and Far Away enemies equally well (bows and crossbows).

13th age doesn't measure movement down to increments of five feet.  It's designed explicitly for Theater of the Mind action (though many 13th Age groups still use minis and maps), so it cares about where people are relative to each other instead of exact distances.  They make a few sacrifices for this:  Halflings and Dwarves can move around in combat as quickly as Elves and Humans.  But on the other hand, there's no need to get into arguments about distance, track who's within 30' for your javelin, and quarrel about whether your cleric can move to the fallen ranger to heal them.  The distance between things is measured in moves, not feet.

In 13th Age, a character can move to anything that's Nearby with their move.  A character can close distance from Far Away from something to Nearby with their move.  A character can Disengage with a move.  Disengaging is different from 5e D&D.  In 5e D&D, Disengage is an action.  In 13th Age, it's a move.  You either move away and take an opportunity attack or make a roll to Disengage (like the old 3rd edition Tumble check).  If you fail, you lose your move.  Some classes get abilities that interact with the Disengage roll to make them good at hit-and-run tactics.  I actually like the 5th edition D&D Disengage rule better than the 13th Age rule (5e also gives classes Disengage mechanics - see the Rogue's Cunning Action).

5e DM Tip!  If you're using theater of the mind action, it's already impossible to tell whether a Dwarf is too slow to get to a nearby enemy, unless you constantly track relative distances between each and every character in the scene.  Nobody does that.  So start describing distance in terms of "moves" instead of feet, with the understanding that one "move" is about 25 or 30 feet, if it matters.


Positioning, Tanking, and Intercepting

When you're using minis and a battlemap, the tactical movement options in 5e are wide open, but when you're using Theater of the Mind, it's impossible to keep track of the exact distance, in feet, between your character and every other relevant character and object in the encounter.  So your options for tactical positioning in 13th Age are not limited just because there's no grid.  They added a positioning system that doesn't use feet, but allows you to make declarations about where you are relative to other combatants.  That means you can keep track of a lot more information about relative positions since it's not all in exact numbers of feet.  There's no trigonometry involved.  Here are some of your positioning options in 13th Age:

You can move Far Away to avoid being attacked.  Since that takes two moves, nothing can both move to you and attack, and some ranged weapons can't hit you.

You can move Behind an ally, forcing enemies to go around the ally to get to you.  Any time an enemy tries to go around you, you can Intercept them, which lets you become Engaged with them and end their movement.

When you're Engaged with an enemy, it's hard for them to get away.  So you can "tank" by engaging with enemies.  They have to make a check to move away from you without taking an opportunity attack, and if they fail, they lose their move; or they can decide to just move away and take the attack without trying to disengage.  Protector type classes (and monsters!) have abilities that interact with the intercept, disengage, and opportunity attack mechanics to make them more "sticky."  Skirmisher type classes (and monsters!) have abilities that interact with these mechanics to make them more "slippery."

Other situations that are less clear are resolved with a GM call or an ability check if there's disagreement.  So if you rush the necromancer, and the GM says you have to go around his zombies to do it, the GM might refer to when they described the scene "I said the zombies filled the hallway shoulder to shoulder, with the necromancer behind them."  You can counter by saying "Yeah, but I can try leaping off the altar and swinging from the hanging tapestry, up out of their reach," and the GM will call for a Dex check.

5e DM Tip!  You can't copy 13th Age positioning into D&D without a lot of house rules, but you can take its advice about "Dicey Moves" -- any time a player argues that they can make a move in theater of the mind action, and you disagree, instead settle the disagreement with a die roll.  This is part of the larger "say yes or roll the dice" principle.  Any time a player wants to do something, and you think the opposition is too great, it's a disagreement over whether their character is good enough to overcome it.  That's literally what the system is for:  Let the dice decide whether their character is good enough.


Area of Effect Magic

5th edition D&D handles area of effect magic all wrong for theater of the mind.  It tells you that your character can send a streak of flame from your character's fingertip to a point you choose within 150' assuming your character has uninterrupted line of effect to that spot, at which point it explodes into a 20' radius sphere centered on that point, spreading around corners.  To know if you can hit multiple creatures, you need to know how far they are from you, how far they are from each other, how far they are from your allies, and then compute some trigonometry to figure out if you can choose a point to target that will hit as many enemies as possible without hitting your allies.  That's totally inappropriate for theater of the mind, and it results in a lot of "Haha sucker!  You also hit the fighter!  Ragnar has to make a Dex save!"

Take a look!

Fireball
3rd-level evocation
Casting Time: 1 action
Range: 150 feet
Components: V, S, M (a tiny ball of bat guano and sulfur)
Duration: Instantaneous
A bright streak flashes from your pointing finger to a point you choose within range and then blossoms with a low roar into an explosion of flame. Each creature in a 20-foot-radius sphere centered on that point must make a Dexterity saving throw. A target takes 8d6 fire damage on a failed save, or half as much damage on a successful one.
The fire spreads around corners. It ignites flammable objects in the area that aren’t being worn or carried.
At Higher Levels. When you cast this spell using a spell slot of 4th level or higher, the damage increases by 1d6 for each slot level above 3rd.
http://ephe.github.io/grimoire/spells/fireball


13th Age is better for theater of the mind play.  It says that at any given time there are 1, 2, or 3 enemies close enough together that you can hit them, and if you're willing to cast it recklessly (which is a no brainer if your allies are not currently engaged with the enemy), you can actually get 2-6 enemies inside its explosive radius.  Instead of the GM deciding if you can hit 1 or 3 enemies, you roll a die.

Fireball
Ranged spell; Daily
Special: When you cast this spell, you can choose to cast it recklessly.
Target: 1d3 nearby enemies in a group. If you cast recklessly, you can target 1d3 additional enemies, but then your allies engaged with the target may also take damage (see below).
Attack: Intelligence + Level vs. PD
Hit: 10d10 fire damage.
Miss: Half damage.
Reckless miss: Your allies engaged with the target take one-fourth damage.
7th level spell 12d10 damage.
9th level spell 20d10 damage.
Champion Feat Casting the spell recklessly increases the number of additional targets to 1d4 instead of 1d3.
Epic Feat Increase the number of targets to 1d3 + 1 instead of 1d3.
http://www.13thagesrd.com/classes/wizard

DM Tip!  5th edition D&D doesn't have such elegant theater of the mind AOE rules.  So you have to accept player assertions, like "I can get the three skeletons fighting Ragnar without hitting him."  If you start quibbling these things, you're wasting time and setting up an adversarial relationship with the players.  


Retreat

It doesn't get more high stakes than a battle you're about to lose.  And when the stakes are high, whether or not you can successfully retreat and save your hide is a big deal.  In a game where distances and movement and relative positioning are measured in feet, it's a mess.

If you're routed in 5th edition D&D and decide to retreat, the combat system is not your friend.  Movement speeds in feet, initiative rounds, etc. all stack up against you, even if you're using a grid and miniatures.  Running away from a fight should not be that hard.

In 13th Age, it's much easier:  "Fleeing is a party action. On any PC's turn, any player can propose that all the characters flee the fight. If all players agree, they successfully retreat, carrying any fallen heroes away with them. The party suffers a campaign loss. The point of this rule is to encourage daring attacks and to make retreating interesting on the level of story rather than tactics."  (http://www.13thagesrd.com/combat-rules)

A "campaign loss" means "something bad happens in the story because you were defeated."  It doesn't mean you "lose the game."  Obviously, that's better than a TPK.  Because retreating is easy to understand and easy to do, players in 13th Age are braver and GMs can create more deadly situations without worrying about causing a TPK -- and as a result, the PCs lose more fights, but the campaign doesn't grind to a halt.

5e DM tip!  Import the 13th Age "Flee" rule wholecloth.  It'll make your PCs take bigger risks, and they'll lose more fights without ending the campaign.  It's a win-win!

August 23, 2016

Mood Infographic

Today's post is an infographic on mood in tabletop RPGs!

If you want a more detailed dive into mood in tabletop RPGs than this infographic, click on over to this old article here.  But I'll warn you -- the graphics are ugly.

Here's a much better looking infographic.

GMs, you need to be clear about the mood of your game before the players even make characters.  It determines who the protagonists are, what their ethical considerations will focus on, and how conflicts will resolve.  Superheros just beat up the obvious bad guy.  But in a gothic horror scenario, it may turn out that there's no good guy, and that the PCs were the real bad guy all along.  It determines conflict resolution - in a dark mood game, defeat is common and fun.  In a monster hunter game, defeat is rare and disappointing.



August 16, 2016

Weekly Wrap Up - Critical Hits, Infographics, and More

First big news:  I have another guest post up on Critical Hits today.  This one is on skill challenges in 5th edition D&D.  I crunched a lot of numbers to make sure the probabilities worked out for you, then I had to temper those numbers with the details of D&D - class abilities and spells that can give PCs huge advantages in exploration and interaction scenes.  Take a look at the earlier 5e skill work I did here.

Second, I've been making a lot of infographics based around concepts on the blog.  I'm enjoying it, and they get more shares and clicks than detailed blog posts.  Obviously we need a mix of quick and easy graphics and deep dives in blog articles, so I'm going to keep doing both!  Here's another infographic for today!  I plan to do one based around the 5e skill challenges piece, too, if I can figure out how.

This one is on the three act structure - a sort of "reminder" or cheat sheet.  If you recall, I did a big piece on the three act structure and the hero's journey a few years ago.  I'm not loving the bullet points, but it looked better with them than without.  Any real designers have tips on how to incorporate lists into graphics?



Last of all, I read a neat piece over on Sly Flourish quoting Mike Mearls' "we designed for the table, then we designed for theory, now we're designing for the table again" commentary and discussing the actual play podcasts and video series' and their potential impact on the hobby.  I had two thoughts on that.

First, RPG actual play isn't always how people actually play.  I think the videos and podcasts of "actual play" RPG sessions out there are a varying mix of reality and kayfabe.  Some, like the One Shots podcast, aim to show off how the system actually runs.  They're like a cooking show or a product demo. It's like if Rachel Ray GMed an Edge of the Empire game to show you how it's done.  Others, like the Force Grey series are closer to pro wrestling than the Food Network - they're set up for awesome improv between professional (or at least part-time) comedians -- not to actually portray how your Friday night D&D session actually works.  Force Grey is even edited.  Sure, they use the system, but they could be using any RPG system to the same ends, riffing off good and bad die roll results.  You can see a continuum in Chris Perkins alone:  The PAX live Acquisitions Incorporated shows are more theater than D&D (more Ray Mysterio than Rachel Ray); but the AI series is more D&D than theater.  They do away with the elaborate sets and models, and Chris Perkis is running a game a lot closer to how most GMs actually run D&D than his PAX Live performance.  There's definitely a place for each.  In my limited time, I appreciate the edited, entertainment-dense Force Grey shows, even though I'm aware that this is not how my D&D sessions will ever work, and in many ways I don't want them to work that way.  (Example: If you've been reading Run a Game for a while, you probably know why I don't like the trap scene in Episode 5 of Force Grey!) 

Second, designing for the table is a laudable aim.  But moving away from theory is not.  It's one thing to say "we neglected the table, so we're bringing that aspect back into the design" and another entirely to say "we neglected the table with our focus on theory, so we stopped designing from a strong theoretical base."  That's a common complaint about 5e - a lot of it feels thrown together and then playtested to shave the rough edges off.  Not that it's a bad edition of D&D, mind you!  I love it, but its "table first" design shows.  Table First makes fun (though poorly balanced) PC classes but terrible Monster Manuals.  A better philosophy would be to say "In the 80s and 90s we were great at designing for actual play, but we didn't have a strong theoretical base.  With 3e and 4e we developed a strong theoretical base, but we neglected to design for actual play.  Now we're aiming to build a strong theoretical base, and then shape it for actual play."  Doesn't that make more sense?

August 10, 2016

Magic Circle infographic

Relevant articles on Run a Game:

  • http://www.runagame.net/2015/05/the-magic-circle.html
  • http://www.runagame.net/2016/04/stance-and-magic-circle.html
  • http://www.runagame.net/2015/07/immersion.html