Okay, so let’s say your character has a really big goal that can’t be managed through a full frontal assault. You either need to politically tear down your enemy, gather the evidence required to indict them or set yourself up to have some sort of strategic or tactical battle to come. Let’s take a Vampire: the Requiem example and say you want to erode the head of Clan Ventrue’s power base and humiliate him until the entire clan refuses to have any dealings with him.
No easy task. If you start by hurling baseless accusations around, or take a step wrong, you’ll likely end up being the one humiliated … or even murdered. So what do you do? How do you take control in this situation?
Firstly you need to keep accurate notes on your enemies. Find out their motivations, likes and dislikes, allies, enemies, assets and other resources. Find out the same information on those allies and enemies. Get the best perspective on the situation that you can and record it because if you don’t than you will forget it.
Then brainstorm some options with your own allies, jotting down (OOC at least) each and every idea for both short-term and long-term plans. It’s easy to just toss around thoughts verbally without writing it down, but if you don’t, you’re likely to forget half of your best ideas and get distracted by a less-than-ideal option that seemed easiest at the moment. If they’re all written down, you can also go back to other ideas once you’ve fully nutted out whichever idea seemed the most valid in the moment.
Continue reading “Players Planning for Success”
One of the trickiest parts of starting up a game is ensuring that all of the players and the Game Master are on the same page as to how the game is meant to be played. Unfortunately, there are certain meta-game considerations that should be kept in mind when creating a character in order to get the most out of a particular game. Some of these considerations are in the feats and attributes chosen, but a lot of is about the character’s mentality and design.
If I were creating a character for a classic dungeon crawl where the whole point is to fight monsters for fun and profit, then I shouldn’t make a Barbarian whose fear of her own rage convinced her to be a pacifist. Now this isn’t to say that you couldn’t make a pacifist Barbarian, as that could be a fantastic character concept in a different kind of campaign (even certain kinds of dungeon delves) only that it won’t work in this particular campaign unless we toss the essential premise (kick in doors and hit stuff) out the window in favour of something else.
So what can a Game Master do to ensure that everyone knows what the campaign is about so that they can take that into consideration when creating their character?
Continue reading “Getting Everyone on the Same Page”
Something happens … but the players can’t be sure just what it means. Perhaps they receive a mysterious letter addressed to a previous owner and have to find out who they are and what it’s about. Perhaps they find themselves with blood on their hands and have to figure out how that body got there (akin to the Sudden Event but far more slow-paced).
The mystery hook requires active participation on behalf of the characters because their enemies aren’t (yet) looking into them and so if they persistently ignore the hook the campaign will fall apart. Therefore it is important to have the players on board first and foremost. If they are the type who hate doing something that wouldn’t make sense for their character, make doubly sure they have characters built who would take the bait.
The trick with a Bizarre Mystery is to take the initial situation and make it odd enough to inspire attention. It can help to have a second hook in case the first doesn’t provide sufficient incentive. Perhaps after the mysterious letter, they find a mysterious break in as someone steals the letter. This is still not a Sudden Event hook because it happens while they are away and if they simply file a police report and ignore it than there will be no further pokes from plot.
So make it interesting and tie it into the characters as best you can — both through nudges in character generation and through adjusting the hook to suit them. The Pathfinder campaigns often encourage players to select campaign traits that provide in-built motivation. You could borrow a page from their book to nudge die hard character immersionists into having the incentive to follow the plot line. Sample traits could involve an interest in local history or a desire to be an amateur sleuth. It doesn’t really matter so long as it helps ensure the characters get involved.
Once involved, the characters need to behave proactively for the first section of the game until they draw enough attention to themselves for the villains to put them on the defensive. If you’re curious about seeing this sort of hook in action, take a look at the grand majority of Call of Cthulhu games where the character hunts down a particular clue thread until they surprise the evil villains in the middle of their ritual. Naturally if it’s a campaign the situation might not remain so proactive throughout but it is important to bear it in mind that to begin with the PCs will control the pacing unless you put in an obvious ticking clock.
Do you have any advice for baiting a mystery hook? Seen it done particularly well? Feel free to put down more ideas in the Comments section. Alternatively if you’d like to check out the base article you can learn more about other forms of campaign hooks.
The Slow Reveal is a style of hook where the players are slowly but surely drawn into the tale through a series of off-kilter hints that all is not what it seems. While it’s a bit of an older video game, Alan Wake provides a really good example of the Slow Reveal and you can readily imagine how it would feel to be the players behind the main characters in this game.
The game begins with an introduction to the characters as they’re traveling to a new town. We’re introduced to Alan’s wife, his agent, and his problems with the blank page. He has a massive dose of writer’s block and so they’ve rented out a nice little holiday home on a lake in order to find some way to break through that block. The characters themselves are the primary hook. They’re interesting enough that we’d like to know more.
These interesting characters are followed by some little hints that all is not what it seems. You hear about the woman who desperately tries to keep all the lights working in town. You try to speak to someone who’s locked themselves in a toilet in a dark corridor only to run into a rather creepy woman who stands in the darkest shadows of that corridor. The small town setting flows into the resort home itself to add a very creepy vibe – a long and rickety-looking bridge promises future problems and the building’s isolation suggests future terrors.
Continue reading “Hook: The Slow Reveal”
The Sudden Event hook gives players a short amount of time to introduce their characters to the setting (typically between a few minutes to half an hour) before throwing them into the middle of the action.
Boom! This happens! What do you do? The pace is frantic and the characters are forced to react. There’s no time to think, no time to plan and nothing will ever be the same for them again.
Perhaps they’ve been turned into a supernatural and spirited away for training by their vampiric mentors. Maybe a bomb goes off in the bowels of the ship and they must now try to find their way out. Perhaps they all just happened to be in the same newsagency when a heart attack drops one of the first zombies into their lap. Or maybe the mouth to hell merely opens up and the tavern is awash in demons.
Continue reading “Hook: With a Bang!”