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.
A Slow Reveal hook works because of anticipation. When hordes of the dead are running at you, you don’t have time to anticipate. You don’t have time to let your imagination work or to really get immersed into the situation. You certainly won’t have time to connect to the other characters and grow attached to those locations that are about to be blown up.
This hook works best when the whole point of the campaign is a plot that has infested the world around the characters without overhauling it completely. A vampire who moves next door and starts corrupting the local populace suits a Slow Reveal hook far more than a vampiric bikie gang who smashes up the town, turns the player characters and dumps them in Mexico.
It’s important to give the players something to do during a Slow Reveal that is interesting and filled with minor complications and hints of something worse. Brainstorm the issues that currently face their characters and the signs and omens of what is coming. Interweave these ideas so that the players always have something to do, some issue to resolve, and that they can additional hints as to important NPCs, locations and situations as they do so.
Remember you can make NPCs more memorable by tying complications to their introduction — such as having to track down the realtor to get the key and finding they broke down en route, or having to convince an argumentative couple to calm down long enough to pay them when you fuel up at the local petrol station. By giving the players an interesting reason to spend time with these NPCs (while repairing the car or calming them down), you’ll make them more likely to remember those same NPCs when their personalities change (now the couple never argues) or a situation repeats (all visitors break down en route to that address).
LARP HINT: A slow reveal works best in a longer session or campaign game where the first couple hours can be involved in a relatively mundane situation. Perhaps everyone starts off in a speed dating convention in an in-game pub and they don’t realise they’ve been put in quarantine because a few of them have fallen ill from some terrible plague or the wild west campaign of dealing with vermin and dangerous bandits also has a supernatural side that will slowly reveal itself to the player characters.
It’s important to inform your players that the game will switch conventions partway through and to let them know the kind of game it will become though you don’t have to give them any plot details. This prevents them from becoming confused and frustrated when the game they signed up for suddenly ends. Don’t worry, knowing things will turn dark and not knowing how or when will only build up the anticipation all the more.
What are some of the best slow reveals you’ve seen in action? What’s some advice you would give others for using one? Check out the base article for more hook ideas over here.