Video Test Post

 I had one job with this video... make upside up. 

I missed and had to go monkey with youtube's code. Annoying. 

#RPGADAY2020 19. (The Dark) Tower

 

#Tower

Tower is easy. 

The Dark Tower, by Milton Bradley. My dad came home with this game and it became a fixture at the dinner table. We'd eat and the game would come out. No one fought over the pieces, because the Tower was the goal of every player.

My Mom, Dad, and sister all played this every chance we got. I wish we had pictures because those were good times. I did a retrospective post on it, since I don't have an actual game to review. 

Game play was easy and it left a great impression on me. While it isn't an RPG, it reminds me of Barbarian Prince by Dwarfstar Games. 

The mechanics were easy. Move a piece on the board and the electronic tower responded. Each turn cost food, some ratio of food to solders. You fought brigands from time to time, got lost or walked into a plague. If you collected up the 3 keys, you could mount an assault on the Tower itself. 

There were some special events, fight a dragon, find a Pegasus, or a magic sword. The sword automatically defeated the dragon, but you lost the sword. A Pegasus would allow you to hop across a single kingdom. Checking in at home gave you more soldiers. 

You could hire a beast, a scout or a healer to offset some bad events. Records were kept with simple cards and a sort of pegboard tally sheet. It was so simple. 

One of the standout features was the artwork. It was weird and cool at the same time. Each image appeared on the side of the tower, lit by an small light bulb. Recently, I was able to figure out that it was done by Bob Popper. There is even a brief interview with him over at WellOfSouls.com. In that interview, he imagined the characters or teams going on endless quests. His unique style did that wonderfully. 

I can still hear the win condition music from the game, which is of course linked to the images. 

Tower... the timeless setting. 

#RPGADAY2020 18. Meet

#Meet

Ok, meet, in respect to RPGs. Usually, "Meet" is all about how the party gets to know about each other. There are some classic tropes for meeting: 

"They all met at the tavern." 
"You're all locked in adjacent cells." 
"The lord has called upon you for secret mission." 
"The offer seems intriguing, so you make your way to the table." 

As good as all of those are, that isn't what actually happens. I'm my mind, we do not need to meet the characters. The characters need to meet themselves and show what part they have in the party.

When you meet someone in real life, by virtue of your senses and expectations, you go in with information about someone else. Whether you are right or wrong helps you formulate an opinion and hopefully, a relationship if only limited or transactional. In the theater of the mind, none of that exists (unless a player is an artist and has a picture of their character). 

At the RPG table the party isn't meeting each other so much as themselves. Wherever or how ever they meet, you, the DM need to be a good host and allow the players time to interact. I know it seems like a great time to throw them into the action, but just a few minutes of engaging each other helps the players get to know not only the other characters, but themselves. 

I've had players show up with five page thesis statements on their character. I don't care what you dreamed up over a period of weeks and many drinks. I want to know what you'll do now, with the resources given. "The Templar Knight of our Lady of Death" is not going play real well will singin' dwarves and a boozy cleric. 

As you can imagine from my prior posts, I can't resist hitting the big red reset button. Usually, right from the get go. My intent isn't to disrupt the player's idealization of their characters, it's to stop them from imposing their ideas on each other and whatever story I have dreamed up. 

I do have some stock buttons to push for the players if they start going to far into themselves, vs how they are going in be in the party. A fight from the get go is usually too murderous or too contrived, so I avoid it. 

The whole idea of their first day in a new town, at a bar they should have never seen is loaded with jolts and tricks to make the players describe how their character will function in the party. Nothing makes someone explain themselves more than a deviation from expectation. Think about the following scenarios and what they would do for your character development: 

• The innkeeper brings you your key and states: "No one has been in your room, as you instructed." (When did I do that?)  
• A messenger show up with a sword or holy symbol with your name on it, except you can't draw the weapon or touch the symbol. 
• A cleric bursts in and says, "We didn't bury enough of you to resurrect. Why did you come back?" (Not, "how?", but "why?") 
• If all of that seems like too much, a death threat from a seemingly overpowered team of competitors might do. 

When you meet, the point isn't to tell other people about your character, it's about showing how your character will act in the group. 

#RPGADAY2020 17. Comfort

I feel pretty comfortable running ahead a day. The 17th prompt is #Comfort. 

For me, comfort is drawing. 

The paper is a kid's drawing pad and the pen is from Walmart. I'm going without my glasses, while holding a phone. I wish I had started filming at the beginning. Not optimal, but whatever is? Gaming and play is never optimal until you look back on it. 

The idea came and simple tools made it flow freely from brain to paper with no constraint. It's not perfect, but I like it.  

Finished? No. Completed, yes. 

#RPGADAY 16. Dramatic.

 

#Dramatic. 

In game play, what can you do build a dramatic scene? If you're my dad, you do the above. 

Not everyone has those resources. What if you are doing purely theater of the mind? What can give your players a sense of tension and drama? 

Here are some of my favorites when playing D&D.

1. Use Morale. Morale is an often ignored mechanic. It usually means someone runs away from danger, not in to danger. But by basic definition, it means someone is confident or not. Perhaps over confident. 

Make your monsters and villains act accordingly. High morale causes cockiness. Let some of your antagonists miscalculate the situation. They start of with no weapons, then pull out the big guns as the players take away some of that spirit. 

Mechanically, as the villains lose hope, you could start putting minuses on their attack rolls before they actually break and run for it.  

2. Force the players to use a caller. A caller is there to help the DM run through a routine set of tasks. By forcing the players to use a caller, it creates the expectation of routines. Everything has a place and an order. As the DM establishes order and the caller implements it, taking it away leaves the players on the edge of their seats. Bypassing the caller by saying, "Ok, Ted. What will you do?" is jarring. It also needs to be reserved for truly dramatic effects.  

The inclination of the DM to impose this sort of chaos is usually a negative thing, but it doesn't have to be. Indiana Jones vs. the Swordsman is a classic example of having the character's routine actions changed in a positive way. Laughter is an expression of intense happiness, just like sweating is to fear. Whatever you do, taking away the established routine of a caller can really elevate people. 

In all cases, it's better to remove a social convention such as the caller than it is change a game mechanic to pump up the drama. 

3. Failure isn't death. There's the old line, "A fate worse than death". Nothing jolts the players so much as moving the goal post. Suddenly, it's not about life and death, but something more upsetting. 

A good example of this is the characters are fighting on the rooftops of a town. The danger of falling or dying is ever present. Imagine how they will react if they realize the reason they are up there is a rouse to get them away from gates as the enemy pours in? What if their long time friend is dragged into a wagon on the street below? That changes the dynamic. Instead of win or die, the situation is about escape or die or pursue or lose a friend. 

4. Abuse the button. The first 3 items throw the players into an elevated state, physical responses are not in tune with reality. No one at the table is ever in danger of being eaten by an orc, but if you get the player in the spirit of things, they will be sweating about an unreal situation. And you can use that to really lay on the dramatic. 

With TV shows and to a lesser extent movies, the biggest dramatic moment is the cliffhanger. Now, if you tried this with a run of the mill combat session the players would be confused. However, you can fake it. When the party sets of for the big brawl, you slam your book closed and announce: 

"Well, this is as good a place to stop as any..." 

This is the exact the same trick the grandfather pulls on Fred Savage in the Princess Bride. And you should play it as such. "Ok, I guess we can play this out. If you don't mind." Don't actually force an ending on the players. But if you abuse that button and it works, you know you've got the party's attention.  

These techniques of abusing the button can be for good or ill. 

If the party is trying to do something quietly, start whispering until the proper wham moment arrives. Then make it a literal wham. You don't need to shout, you can simply go back to a normal voice. 

In an outdoor game session, I pretended to be distracted by the cicadas' buzz. It goes up and down, and starts and stops suddenly. I kept it up all session, forcing the player's awareness of the noise. When cicadas naturally stopped, I leaned forward and said, "All of the forest's sounds stop." Their eyes got really big.  

This is a very strong technique. It needs to be used with care, because if you put the players on the edge of their seats, kicking them too often isn't a good idea. Nor should these moments always lean to the negative. As much as you can shock a group, you're main effort should be engaging the group.