Showing posts with label sandbox mechanics. Show all posts
Showing posts with label sandbox mechanics. Show all posts

Thursday, January 21, 2016

Information as Treasure Type: Building Dynamic Sandboxes Part III

The gradual chipping away at mysteries both big and small is one of the central running themes of the Hill Cantons campaign. I am a big believer in the notion that every dungeon or adventure site really should have at least one or three nagging questions about why it is there or what is going on with its residents (both historical and present).

Just to complicate it further I also have a self-rule that each site's mystery or theme has to have a connection with either another site's or a larger setting one. Since I tend toward designing and introducing lots of small and medium-sized dungeons of 1-3 levels rather than mega or large ones, that means alongside the campaign news round up that I have had a pretty good working method to keep the layers of mystery dynamic and sustainable even after seven years of weekly campaign play.

That said, I feel like I have always been challenged as a GM in how to present layers of mystery players without it just being “hunh that's weird and inexplicable.” In other words how to achieve that sweet spot between keeping your cards close to your chest and giving players enough information and access points to make meaningful choices in the sandbox—and to have actual value to their advantage.

Early on in the Google Plus campaign, the players started using a term coined by Robert Parker (a player): “info-treasure.” Simply that coming along some piece or another in exploration is valuable in itself.

Classic D&D has a couple long-standing examples of this: the rumor table and treasure map. Rumors are like starting magic item equipment, small random items that can help a party (or be “cursed” and hinder with misinformation). Treasure maps naturally are straightforward as being directly tied into the reward system of well-aged D&D.

Punchline: Why not just treat Info-Treasure as a literal treasure type?

Here's a system that I started to work on that incorporates Info-Treasure into the time-honored B/X d6 dungeon stocking rolls.
Treasure Table
Roll d6
1-5 Treasure only (roll on Treasure Tables as usual)
6 1d2 Info-Treasure roll (1-2 on d6 chance of Treasure Table roll too)

Info-Treasure Table
Roll d6
1 Red Herring/Misinformation
2-3 Sketchy/Cryptic Clue
4 Minor Clue
5 Substantive Clue
6 Full Monty Exposition

Info-Treasure delivery ideas:
Lost Journal (savor that cliché)
Mural/Painting/Tapestry
Oracular pool/creature
Magic Mouth
Friendly or Neutral NPC/monster
Hostile but Captive NPC/monster
Players Map (level of detail dependent on type)

Examples:
Red Herring/Misinformation. There is a single muletrack that leads from the woods to the Lost City of the Angels. Also the Gopherman saying for “I surrender” is “Bree-Yark.”

Sketchy/Cryptic Clue.
Only roads beneath the ground lead to the Lost City of the Angels.

Minor Clue
Underground roads exist from all the local dungeons to the Lost City of the Angels.

Substantive Clue
An entrance to an underground highway exists in the eastern part of the basement of the Hall of the Ancient Hyperboreans.

Full Monty Exposition
Here are all the ways you can get to that damned Lost City of the Angels, also this is what's going on there.

Friday, October 9, 2015

Building Dynamic Sandboxes Part II

The Building Dynamic Sandboxes kickoff post felt a bit light without some of the supporting entries so instead of waiting until tomorrow I am going go ahead and post Part II. (There will indeed be a Part III centered on Faction Dynamics, NPC Actors, and Notebooks, likely Monday).

Beyond having a regular campaign news cycle and building less static encounter charts, I've found having generators for large-scale regional or realm-wide events to be extremely helpful in injecting fluid situations into the campaign. My personal druthers is to concentrate on (or at least having on hand) generators that are either escalating (with PC-action and NPC triggers) or random --even better is when I can manage to combine elements of both.

The Chaos Index. If you've read Slumbering Ursine Dunes or Fever-Dreaming Marlinko, you have perhaps an inkling of what the Chaos Index is. The Hill Cantons has a campaign conceit in which human civilization is hemmed and battered with supernatural/mythic/faerie zones known as the Weird. Because the boundaries between the Weird and civilization tend to move back and forth I put together a track similar to what one might find in wargames.

The track moves up and down when actions inside the game either roll back the forces of the Weird or trigger greater chaos. As the track escalates away from the baseline the afflicted campaign areas get more anarchic and stranger. When things get to relatively high levels things get really odd and start to set off various events.

One, of course, doesn't have to buy into that kind of pretentious cosmological shenanigans. Something like the Index can just easily be adapted for any escalating situation in your campaign: the ebbs and flows of a war and its impact on the surrounding countryside; the rise and fall of a sinister looming great evil/dark overlord, etc.

But let's go back to my Chaos Index for a concrete baseline example. Here's are a few index-related excerpts from Fever-Dreaming Marlinko.
Click on me.
Me too. 

Now that's pretty elaborate and takes some heavy lifting in terms of thinking about the variables that might apply to your own campaign world. The idea is to capture movement, no need to overdo it. 

And, hey, truth be told I use a way more stripped-down, loosey-goosy version at my own table most of the time. I tend to take notes at the end of a session and make a fast and loose judgment call about whether I should move the index. “So the players killed the Ernest Borgnine wizard creating badgerman clones in his vats?” That's going to ratchet down the Weird a slot. “Oh they broke open that lead-sealed chamber containing Nezarr the Aborted, well thats four slots upward.”

Similarly what happens as you hit each level of escalation doesn't have to have a fully-developed chart. One can just as easily seat of your pants as I often do. “Oh this week the Index jumped up pretty high. So that must mean that the war against the kozaks is spiraling out of control. Let me say make it twice as likely that players will encounter a kozak warband.”

Event Charts. Event charts and similar mechanics have been with the tabletop hobby for a good long time but are strangely underdeveloped and neglected by designers. Wargamers of the 1960s-70s frequently employed random chance cards in battles and campaigns, a phenomena that got ported into Dave Arneson's Blackmoor with interesting and sometimes hilarious results.

Oriental Adventures fielded one of the few examples of a good overarching and flexible system for generating events in an old school D&D product. OA's system has multiple levels of magnitude. Big ticket events are diced once a year, medium/regional level events monthly and small-scale daily events are nicely cross-indexed to terrain (and produce some immediately actionable type things like discovering a lost ruined temple and the like).

Though it produces some events that are either or culturally-off (and I want my campaign-shaking events coming in more frequently than annually and monthly) it's an easy system to adapt. The general architecture fits in nicely with the routine of campaign news that I think is important to establishing good habits. I will admit to relying on OA's system quite often when I get stumped for ideas.

Surely you have some personal favorite campaign events systems? Designed your own? Jacked it from Birthright or some other product?


Building Dynamic RPG Sandboxes Part 1

[Part Two can be found here.]

Tabletop rpgs lord over other gaming forms in several key areas. One major area is in the ability to provide robustly reactive campaign worlds that can take players and GM alike into totally unexpected places.

I have my shortcomings as a GM (pacing in online sessions for one) but over the years that the Hill Cantons has been active I've worked like hell to make the campaign feel alive and ever changing—to make all the whirly bits whirl. I've tried to extend that dynamic feel to the published mini-sandboxes of the Slumbering Ursine Dunes and Fever-Dreaming Marlinko. (The upcoming Misty Isles of the Eld has several, some that radically transform the region through player's actions.)

Often providing dynamism is just a matter of thinking through after a session ends how the various pieces of your sandbox (the machinations/reactions of NPCs high and low, what an in-game activity like a massive treasure haul did to change a base settlement, etc) are organically pushed and pulled by players (and other actors), but it helps immensely to develop a range of tools and habits to give it depth and consistent motion. Here are a few of my own tricks of the trade (cut into two parts for length).
Campaign News Cycle. I've written about this before in depth, but an important glue in the Hill Cantons campaign is the weekly news.

Regular news updates serve a triple function: 1. they force you as a GM to have think about the moving parts of your world on a regular basis, 2. it provides players frequent active choices in interacting with these moving parts, and 3. they create the illusion (and to some degree the reality) that your campaign world is a real, living place.

Dynamic Encounter Tables. This is a new piece for me. While I am generally pretty good at developing unique encounter tables (it's an easy and eminently practical shortcut in providing an interesting feel to an area) they have been mostly static.

I've started making them more dynamic in two ways:
1. Adding a variable New Developments slot that is basically a place holder for a special encounter tied to either a recent news event or an action that the party takes. A concrete example is that there has been a recent invasion by horse-nomads (kozaks) just to the north. If that slot is hit on the chart the party will hit something that has to do with event, maybe it's a patrol by the local militia, foraging stragglers from the horde, deserters etc.

2. I have been using encounter pools for total numbers of certain creatures (especially important in the colony-building Feral Shore campaign phase). Kill 30 Grotmen total over the next month? Well their local population is exhausted and something else will fill that niche. It's a pain to track so I do limit this to certain factions or types of monsters. It plays out at the table well, often giving me ideas for what's happening when new creatures step in.

Sample chart:
Upper North Mythic Woods Encounters
1-2  Personality
3-4  Creature
5  Mishaps and Magic
6  New Development

Creature
  1. 1d6 War Bears pilgrims
  2. 1d3 Revocan Honeyback Bears
  3. 1d4 Infested Boars
  4. 1d10 Reverse Centaurs (20 total)
  5. 2d4 Dirt-Gnome Mushroom Hunters (30 total)
  6. 1d4 Lost Village Children
In the next part I will chatter on about using a Chaos Index (or other overarching dynamic model), Encounter/Event Notebooks, Faction Dynamics and more. (Quite a bit more is written about sandbox mechanics here.)

Undoubtedly many of you sandbox vet GMs out there have a host of your own, feel free to lay them on in the comments.

Thursday, January 22, 2015

On Sandboxes Growing Into Special Snowflakes

The debate around Special Snowflakery has taken some interesting turns. For one Courtney counterposes what I think is an over-narrow definition of the Special Snowflake setting (and lumps in the heavy-handed/railroady elements that I also dislike) to what he may think is my over-broad and likely murky definition. The principled disagreement is all fine and good, I learned things and got a chance to clarify my own thoughts. 

Strangely, a number of people both on these posts and on Google Plus seem to raise counter-points that I not only agree with whole-heartedly but have been central features of the six-plus years of the Hill Cantons campaign—and a re-occuring thread in the posts here about that play. Small is beautiful, less is more, and that play should drive what is vital in a setting world are all things that I have written about—not as abstract principle—but as part of my own observations about where the players and I where taking the sandbox campaign over the years.

Further the discussion made me think hard about whether or not my campaign world was itself a special snowflake. I mean sure in many ways its a very traditional D&D game: the mechanical baseline is a mostly untouched B/X clone and most all play revolves around micro-site underground exploration. All roads lead to the dungeon is a running and not inaccurate (and terribly funny) joke in the Hill Cantons.

But it has had any number of grand experiments (pointcrawls of all stripes, domain-level play, stupid player classes, etc) and it has grown up with a steady accumulation of highly personalized setting details—up to and including the hubris of actually inflicting that hubris on the world through publishing the Slumbering Ursine Dunes. It's hard to not admit in the end that it has very much evolved into the most special of snowflakes.

How a simple barebones sandbox grows into that whole other thing is an interesting open question and one tied to the zig-zagging actions of the players. Tazrun, a PC thief, dies and the party wants to raise him from the dead so they decide to break out of what has been the geographic delimited campaign zone and go to the big city. Then that big city, half-ruined Kezmarok in my case, becomes a whole new arena for the players—and then itself gets dropped for a wilderness clearing new phase. The world and its details start accreting.

I would hazard a guess that it mirrors other folks sure but steady building up from the ground floor (and yes this is your place to chime in about that experience).

Obviously I speak best to my own experience. Fortunately for me that experience rather well documented over the years here. Doubling back to my indexing project I can kill two birds with one stone.

The Road to Snowflake Perdition
I am tempted to skip right over this as vaguely embarrassing but it all started here, my very first post for a blog that was intended just to be a campaign clearinghouse. The campaign was nothing but a few terse setting dress lines. A skippable but relevant post. 

Five sessions and a month in and I am already pushing at the limits of what I had intended to be a plotless West Marches. Still I apologize for worldbuilding impulses. The links here are wonderful, some classics in the thinking of sandbox campaigning in neo-old school circles of the time.

I try to have my West Marches cake and other quasi-plotted elements too by introducing hare-brained and baroque mechanics to keep me supposedly grounded. Some ideas I have kept with me, like the general dynamic of creating just-in-time mystery but most dropped.

Musing on the campaign “stages of evolution” and wondering if it is part of a generalized pattern for all long-running sandbox campaigns. The comments are interesting (and a shame that the Google Plus side vibrant discussion is lost to the ether.)

Kicks off a series of articles about Top Secret networks and character-based sandboxes. The attempts to do this as part of a espionage part of the campaign were not found to be all that fun by several players (and it took the campaign too much away from site exploration for my own tastes) so it was quietly killed in the night.

I finally recognize that the WM like features of the campaign are long abandoned and wonder why the many other “West Marches” have disappeared.

One of my favorite posts, I evoke the final season of Lost and a high-falutin' literary concept to return to talking about how mystery and worldbuilding are evolving in the campaign.

Taking a cue from Morrowind I talk about how to introduce info dump as an optional experience. (Note I have been way too overwhelmed to do anything like this over the last year of the campaign).

Friday, July 25, 2014

What Makes a Great Sandbox Adventure Great?

For going on six months now I have been doing an on-again/off-again read/reread of favorite or suggested sandbox products. Unbidden the same driving question keeps popping into my broken brain: what particular set of things makes this product so damn good? (What makes it shitty or mediocre being an interesting and useful question for another time.)

I have something like 30 unfinished blog posts beating, beating in tell-tale-heart urgency from my draft box and some of them are various attempts to move those margin notes into a blog series. Reckon it's time to whip those recalcitrant posts into publishable shape.
Before I kick off the series though let me set the frame. Imagine the standard disclaimer here these elements are what make a particular sandbox pop me for me, your own mileage may vary blah blah blah. You will note that how I frame the criteria precludes a number of much beloved sandboxes and hex-crawls.

Lines had to be drawn.

That said I am curious to hear if you the reader were making this list what would you include? What particular thing inspires you or helps you run it? And what products would you through on your High Fidelity Top Five list?

What constitutes an exemplary sandbox adventure:
  • Main frame is a large, but bounded wilderness or outdoors environment.
  • Open ended and allows (may even explicitly plan) for different outcomes and play (though most often having loose overall goals or player motivations wired in).
  • Combines the adventure-site exploration with another deep axis (political maneuvering, interesting NPC goals, timelines or whatever) to make it multi-dimensional.
  • Site description is in my utterly subjective “sweet spot” (between terse hex crawl and baroque setting books).
  • Has distinctive color and texture.
  • Often has something that enhances or bends the system it is designed for (say mechanics for running particular natural obstacles or mythical wildernesses that bend standard rules).
  • Has a map that is either aesthetically inspiring or has interesting play choices built in. 

Sandbox adventures to be examined (ranked loosely by personal inspiration):
  • Griffin Mountain (Runequest)
  • Twilight 2000 adventures
  • Heart of the Sunken Lands (Midkemia) 
  • Vault of the Drow (AD&D)
  • John Stater's Land of Nod/Hex Crawl Chronicles
  • Pitzburke (Gamma World 2e)

Almost rans (ballpark goodish, that may or may not be thrown in):
  • Leviathan, Prison Planet, Tarsus and Beltstrike (Classic Traveller)
  • Isle of Dread (B/X)
  • Night's Dark Terror (BECMI)
  • Qelong (LoTFP)

Wednesday, August 28, 2013

Elder Scrolls, In-Game Books and Player Info-Dump Opt-In (or Out)

I came late to the Morrowind and Skyrim party (though Daggerfall, which bored me to tears, was some where back in my past). Truth be told both games ate up inordinate amounts of my blog writing time and energy as is my addictive wont.

One positive take-home I received from playing both games, Morrowind in particular, is how unobtrusively the game designers worked in layers and layers of setting depth by scattering hundreds of in-game books to be read at the player's leisure—or not. Here is a book that details the site-specific account (and gameably useful) of a long-past archaeological expedition, there one dealing with the intricate cosmology of the demon-like Daedra, and another purely some fictional in-setting story.

See I love this. 

I am a notoriously impatient player of crpgs with their invariable info-dumps—far more even then my customary tabletop “five minutes and I am out” intolerance—abruptly clicking over and over again through cut scenes and NPCs monologues. But that kind of impatience is at odds with my love of worldbuilding and leisurely exploration of the layers of a setting's mysteries—and of course successfully playing the game.

Others have explored the games' successes with creating an expanded world beyond the bounding of each game's sandbox. I am way more interested in how the technique might be useful to my own sandbox campaign where the players seem to want to explore this stuff at varying levels and with their own hand on the throttle.

So far it has seemed to work very well on both ends. The players approach me individually during downtime, hiring a sage or doing direct research in a temple library, and ask specific sets of questions about ranges of background they want to explore to achieve party and individual goals. I get a chance to put my cracked, 3 am thoughts about the Hill Cantons to paper. Win, win.

But why describe when I can show. Here are a couple recent examples.
Five Shades of Azure
[Bundled up this week with the usual curt dispatch papers from the Decade King's courier is a gift: a rat-gnawed, leather-bound manuscript penned 518 years ago by a  KeĹľmaroki march-officer, Balazas. A short note from Prince Vdelko tersely reads “of obvious interest.”]

Contrary to the prejudices of the Rock [High KeĹľmarok] our Pahr subjects here on the Shore are not quite the uncouth louts they are made out to be in polite society. To the contrary, I have had many a pleasing—if such a word can be used when suffering the pains of court exile—moment here at Vygrot in their hearty bearded company laughing at their colorful tall tales, seeing the blush of the red-cheeked village maidens in their white linen and floral bodices...[long, racy and embarrassingly clumsy digression].

Month Five, the Longest Patrol
I can understand the nervousness of the men as I pass in quick inspection, the local reputation of the Ruševin is one of utter fear—when it's not being studiously avoided with a stubbornly-cultivated ignorance. To be sure the hollow bones of the dull malachite walls and jutting, skewed spires sprawl oppressively along the crest of Bojan's Peak and the saddlebacked ridge behind.

But my station now affords no question and orders remain orders to those in service. Mounted, me on my charger, the wardens on their shaggy steppe ponies, the patrol takes the switch-backed, broken ruin of a road up from the valley floor. Passing through the curtain of tall, black pines, an eerie stillness and  a strange buzzing sensation descends over us, hushing the coarse jokes and gossip. The outriders find their way hemmed in by the treeline and gladly regain the quiet comfort of the main column.

Closing in on the western slope we can now make out features of the ruins. Rubble fields and a few free-standing walls seem to rule on this side, giving way to a wide boulevard which stretches north-south from the hulking mass of the gatehouse and the gleaming mass of the outer walls. That central avenue threads its way up to a large enclosed structure—its proportions even from this far distance huge in dimensions.

What giants or demons must have raised such an edifice and for what purpose? Not a single window pierces its massive, long-running walls and the only egress seems to be enormous stone portals that look several stories tall.

With a shudder we are glad to leave this site [sic] behind as the trail turns north to the snow-clad peaks. Even combat with the fire-dwarves that haunt those heights seems welcome to spending time contemplating the horrors that must lurk in such a place...

Lost Vlko and Romuilak the Lupine
[The monograph as commissioned by He Whose Howls Echo Among the Ages, His Fecundity, Tazrun, the Illuminious and Mighty Seneschal of All the Southlands.]
For a people who had their origin in the horse-stunk nomad hordes of the Sea of Grass the Pahr people have been remarkably at home in the scrubby hills, rounded peaks, high valleys and crags of Zem. While many of the hill clans have long since been domesticated into the (slightly) more sedate lives of Overkingdom cantons, tales of the “lost kingdoms”, Old Pahr petty mountain kingdoms that dropped from the historical record centuries ago--and into the popular imagination of this day.

One such tale that looms large in the so-called Southern Cycle, that great collection of folk ballads and tall tales of how the Pahr came to migrate, conquer and be conquered in the post-Hyperborean era, is that of Vlko and its hirsute, half-wild founder, Romuilak the Lupine. Many a man of science would like to believe that Vlko still exists, nestled high in the Cerny mountains, with a people prospering by the simple, bellicose virtues of the Old Pahr hidden and secure from modernity.

“Wild Child” and Twin stories are common amongst all the peoples of the Overkingdom and often mix the heroic and divine. Romuilak's story begins along archetypical lines, an unknown, yet presumed lordly father and harassed mother abandon two twins. Where upon Romuliak is raised by a pack of bog-wolves (known to be great nurturers) and his brother (whose name is lost in time) by an occular bat.

Growing to adulthood, the two are reunited, go on great adventures and gain possession of three mighty items of great magic: the Bear-Cloak of Molak, the Shaggus Staff of Oldest Lhoma and the Cyclo-Crown of Hming the Arched. With these mighty items and a swelling army of druzhina, amazons, reverse centaurs and war-ocelots they sack and raise Xol, the last great Hyperborean successor city-state.

Anger issues satiated, the twin warlords then began to construct a great city, Vlko, on the summits of the two massive, rubble piles of Xol's wreckage. Shortly thereafter a routine sibling spat over who was allowed to sit on the right side of the mead-hall table spilled over into tragic violence and Romuilak slew his twin with a single, greasy blow of a pork chop.

The aggrieved and heart-broken Romuilak swore to make war no more, closed the borders and devoted his remaining years to making Vlko a shining petty-kingdom on the hill...

Thursday, June 20, 2013

From the Sunken Lands to the Feral Shore

A couple of weeks ago I had the great fortune of scoring an affordable copy of a Holy Grail product I have been patiently searching for a good long while now: Midkemia Press's Heart of the Sunken Lands.

Though like many so-called Petalheads (thanks, Scott) I get my rage on for the Tekumel lifting by Raymond Feist, the setting's popularizer, I have a great love of the actual gaming products they put out with all their interesting sandbox subsystems (the encounters and down-time business in Cities in particular) and eye for nestling those systems in colorful setting specific ways.

With Rudy Kraft--co-designer of the gold standard for wilderness sandboxes, Griffin Mountain—listed as the author of Sunken Lands I figured it had to be a solid piece of work.

I wasn't disappointed.

The book lays out (with a nifty four-panel blank players' map) a first-class wilderness sandbox set in a large, mountain-ringed, jungle-choked depression. The product has a lot of depth with many pages being devoted to navigation/exploration of the unique range of terrains; inventive, non-standard creatures, plants, gems, extractable resources, and humanoids; an expeditions table (lifted from my favorite section of their Jonril books) that hardwires in an interesting range of incentives for player exploration; and a couple mysterious sites.

With my eponymous campaign now shifting for the moment to the exploration, clearing and possible colonization of a wilderness region called the Feral Shore (more about that later) what I found most intriguing were the subsystems for wilderness exploration (apparently planned for a never-published Midkemia wilderness supplement). I found them highly inspirational and instantly set down to custom fit them to the new mini-campaign.
What the Feral Shore looked like 500 years ago
before being wiped out of existence by the Turko-Fey
The outline of that system (redacted to not tip off the players over much) I share below.

Feral Shore Exploration and Movement
What's different from the typical D&D systems:
  1. Movement is calculated by the hour instead of by the day.
  2. Encounter checks are done by the hex rather than by time.
  3. Encounters cover a wider range of events than the typical wandering monster-like check. Interesting plants, mineral deposits, geographical features, run-in's with sentient beings, strange sites etc are included on tables specific to the terrain of the hex.
  4. Checks are also made on a Mishap table per hex (includes such things as getting lost, having a horse go lame, equipment break, inclement weather, etc.)
  5. Speed matters. A party moving at a slower speed will have an increased chance of hitting an encounter but a decreased chance of having a mishap.

Movement Speeds
Exploration 6 average hours/day
Cautious, Encumbered or Party over 50 8 average hours/day.
Normal 10 average hours/day.
Traveling Light or Forced March 12 average hours/day.

Assumption for Normal travel
Foot: STR 8-14 character can hump 25-40 lbs of gear in pack and pouches, armor of chain/half-plate or less, two weapons, shield. Weaker character -10 lbs, Stronger character +10 lbs
Mounted: Horse can hump 150-250 lbs normally (total includes rider and related gear). Mule 200-300 lbs.

Foot: Average Miles per Hour (includes breaks)
Terrain Road/Trail Overland
Grasslands, Fields 2.5 2
Light Woods, Scrub 2 1.5
Grassy Hills or Moor 2 1.5
Scrub or Rocky Hills 1.5 1
Deep Forest 1.5 1
Forested or Steep Hills 1 .5
Coastal Wetlands 1 .5
Swamp or Heath 1 .5
Badlands 1 .5
Mountain .75 .25

Horse/Mule:

Terrain Road/Trail Overland
Grasslands, Fields 5 4
Light Woods, Scrub 4 3
Grassy Hills or Moor 4 3
Scrub or Rocky Hills 3 2
Deep Forest 2.5 .5
Forested or Steep Hills 1.5 .25
Coastal Wetlands 1.5 .25
Swamp or Heath 1.5 .25
Badlands 1.5 .25
Mountain 1.5 0

Encounter Chart example
Light Woods: Encounter on roll of 1 on a d10. +2 if moving at Exploration, +1 at Cautious, -1 at Fast.
Roll d10
1-3 Roll on standard D&D Wilderness Encounter
4 Human or Sentient Neutral
5-6 Normal Animal
7 Plant
8 Mineral
9 Site
10 Weird



Friday, September 7, 2012

Whither the West Marches?


Running a West Marches-like campaign was something of a mini-trend in old school D&D circles at the tail end of the last decade. I should know because the eponymous campaign this spawned this blog was itself explicitly modeled around the concept in the early spring of 2008. At that time there was a beautiful array of much-blogged about campaigns running based on most if not all of the principles of the WM.

For those unfamiliar with the West Marches it was an “experimental” wilderness-oriented sandbox campaign run by Ben Robbins (the scare quotes denoting the fact that it was something very close to the kinds of campaigns of yore). The major features according to Robbins were:
1) There was no regular time: every session was scheduled by the players on the fly.
2) There was no regular party: each game had different players drawn from a pool of around 10-14 people.
3) There was no regular plot: The players decided where to go and what to do. It was a sandbox game in the sense that’s now used to describe video games like Grand Theft Auto, minus the missions. There was no mysterious old man sending them on quests. No overarching plot, just an overarching environment.

Other major defining features were a ban on “town” adventures; hexless, vector-based wilderness trekking (West Marches has often erroneously assumed to have been a “hex-crawl”); an encouragement of player-driven goal/self-organization; and a high degree of developed micro-detail when it came to wilderness and dungeon sites (each small region had a highly-tailored encounter table, landmarks and other often glossed over features had more emphasis, etc).

That it became a fad of old schoolers isn't a great mystery, Robbins' clear, articulate, widely-read dissection of what made his campaign work happened to coincide with a number of key assertions of the old school play style. That he ran it with 3.5 didn't matter, it was about the the literal meaning of “radicalism”--the paring back to get at roots--that held such great appeal. Such a precision focus on site-based, player-driven exploration was a winning concept.

But looking around today at all those related experiments I am struck by the fact that 3-5 years later all of the ones I am familiar with are gone. While the Hill Cantons campaign is still in fighting form, thriving even thanks to Google Plus, it has certainly evolved way beyond many of the defining boundaries of the WM. Over-aching plots, great mysteries, and urban adventuring—hell, the last two months of the campaign have been inside the confines of a single city—have become more and more the order of the day.

So where did all the West Marches go? Victims to the demands of adult life? Did the format feel too constraining? Or did they just simply evolve (as it did here) as the sands of the box lapped into other spheres?

Curious, thoughts? 

Friday, March 9, 2012

Location, Location, Location

It would be difficult to top Jeff's living arrangement's list for Wessex posted today. I can't and won't, but it did give me the excuse to rework and post the wee subsystem I have for real estate in and around the Marklinko and Ostrovo cantons in the HC.

Like most luxury items in the campaign, PCs get 1 exp per 2 suns spent on buying a place. Players can also choose to custom build (or expand an existing structure) according to these rules. The price for land will vary wildly. Land ownership of arable land is difficult without engaging into the complicated dance of social relations.

Type
Cost (in gp/suns)
#Housed
Availability
Rural hut
100
2
2
Menstruation hut
80
1
5
Rural longhouse
800
10
4
Meadhall, faux-Hyperborean
3000
20
18
Farmstead, semi-fortified
2200
8
15
Slum hovel
180
2
2
Slum flat
320
6
4
Tower, onion-domed
3000
5
15
Townhouse, whitewashed
2600
10
9
Townhouse, stuccoed
4000
15
15
Manse, creepy and decrepit
15000
25
18
Manse, swanky
20000
30
20

The actual cost is variable and the GM will adjust to fit campaign circumstances (a rush of refugees might drive up the price or what) . It is assumed that this price represents the best deal that can be found in a week's search.
Roll d20 (modified by CHA)
1-2
200%
3-7
150%
8-15
list price
16-19
75%
20
50%

The number housed represents relatively comfort conditions. Twice as many can be housed in cramped, unpleasant, bitch-at-your-companions-out-of-annoyance conditions.

Availability is rolled on a d20 (add levels of thief or mountebank as a modifier) to equal or beat the target number. Again this may be adjusted due to campaign circumstances.

Tuesday, January 10, 2012

Crawling Without Hexes: the Pointcrawl

Despite spending 1-2 hours a day sinking psychic energy into this here rpg blog, I am still as much or more of a wargamer as I am a roleplayer. There have been too many years of pushing little lead men and cardboard counters to deny it.

Hexes literally come with the terrain in both worlds. Yet as much as I love that old six-directional organization in my wargaming--where relative position is a top priority--I have to admit that I find them not terribly useful in running day-to-day wilderness exploration in my games.

Don't get me wrong, I still use hex maps, but they have been relegated to only one of several layers of maps I use in campaigns. Right below a top level “symbolic” map (a map, often shared with players, filled with out-of-scale markings and illustrations distorting things by their relative importance) is often a large-scale map of six-mile hexes.

Neither layer of map is what I actually use at the table.

What I actually use at the table are two kinds of hexless map systems: the first being a point-to-point system (the second a “vector” map akin to the West Marches that I may discuss tomorrow).

What's point-to-point? Simple, it's a map that replaces hexes with locations and connectors only. Fortunately I didn't have to invent another wheel, but looked to some old favorite wargames. Take the map from the Civil War classic A House Divided pictured below.

Why bother switching? Because a hex map places “empty space” areas, the countless hexes that may contain nothing much of interest, on the same semiotic level as interesting locales (and by interesting I mean a wide latitude of things from minor curiosities/landmarks to settlements or adventure sites, any point that is worth more than a cursory description). It reduces the amount of information I can see at a glance and the paper shuffling between hex map and gazetteer becomes a stage management nightmare for me when I run a game.

Secondly, hex maps tend to play down the fact that most overland travel is rightly conducted along some kind of track or road. Pathless travel is exhausting, massively disorienting, and dangerous to the point that even something as rough as a mule track or a game path is usually preferable.

Hex maps also tend to not be able to show impassable terrain on a granular level, cliffs or peaks that prevent a line of travel or wetlands areas where the water gets too deep. Note how paths bottleneck in mountain and coastal wetlands areas in the House Divided map. I want to be able to portray the situation where an area maybe be close by how the crow flies but involves a circuitous route by foot. I also want those bottlenecks—places of “strategic” importance to find or hold.

This is what my typical PbP map looks like (click to enlarge).

The squares represent the sites of interest and are color coded with map pencils for ease of reference. In this case, dark blue equals a settlement a town or larger (sky blue is for smaller ones), green is a landmark, and brown is a potential adventure site with its own sub-map.

I always draw in terrain as background under the grid (note the bands of hills and mountains) roughly to scale from the higher-layer hex map. This reminds me exactly where topography begins and ends if I need to use it in-game—and what type of encounter or weather chart to use. I use a wide range of terrain and vegetation type, so this is especially important for me.

Now let's look at the all-important connectors. Solid lines represent roads, double solid lines Roman-like roads with sturdy road beds. Broken lines represent tracks. I will add letters if I need to code the path further, “S” represents a secret or hidden path, for instance, “G” stands for a game path that the party will need an outdoorsman-type to find and use. Rivers and creeks can also be used as connectors.

The dots on connectors play a big role in simplifying things, they are the units of measurement between squares. They typically represent about six hours of unencumbered walking and three hours of normal riding time. If a connecting path is shorter or longer or more difficult I note it directly on the map. The typical foot time just happens to correspond to my encounter checks. The system lends itself to wanting to minimize too many dots, so I tend to brainstorm lots of green-coded minor landmark boxes to both give players more choice in direction and make travel seem more colorful.

The last thing you will note are random notes to myself (the chance for finding on a d6 the stairs to a cave system under the Old Tower square, for instance.) This on-map notation plays a big part in helping me run the game at the table and my actual maps will get very busy with them. Again I can't emphasize enough how helpful this is ease to play flow.

That's one of my systems. I know you devious people have your own. What's up your wilderness-running sleeve?

Friday, April 29, 2011

Network Linkages in the Conspiracy Sandbox

Taking up where we left off with designing a character-focused sandbox this morning, we now add in the dynamic parts of the octopus that give it life.

Before we get much further, let's tick off the things you'll need to have for this campaign scenario before play begins:
  1. An overall idea of the goals and nature of the conspiracy.
  2. A roster of the NPCs and their rankings inside the organization (the subject of the last post).
  3. A symbolic mapping of the network's communication links (this post).
  4. A timetable, schedule, or other mechanic (random events and the like) for the conspiracy's actions and movements (next post, if there is still interest).
  5. Ideas on how to present hooks and entry opportunities for the players to unravel the network (next post).
Communication Links
How the network communicates is essential to its working—and vitally important to how the players explore the leads and dead-ends along those lines.

Top Secret gave six ways for each character node to interact with each other (note the legend on the network map below):

Direct two-way. The two characters can meet and talk directly to each other at their own discretion. Both parties know the location and identities of the other. In our example, Rebekah the Black (M1) has such a link with her subordinate One-Armed Jiri (L1) . One of the agents, Carlos the Dwarf (A2), has a direct (and stupidly indiscreet) relationship with his flunky, F5. I add in a solid line with arrows pointing between the two for each case below.

Direct one-way. One of the NPCs, the one where the points away from, can communicate at his discretion with the other. The pointed to NPC doesn't have the location or means to communicate with the other conversely. This is the preferred method for the lieutenants with their more trusted agents and flunkies (A2, A3, A5, A6, and F6). I add in one-way lines for them.

“Transmitted” two-way. The same as direct two-way except that all communication is “transmitted” in our fantasy case by magical means: magic mirror, crystal ball, telepathy, message-carrying flying beast. Since it's an awfully long way to walk between outer Outer Kutalika and the Capital City, Rebekah and Mogg (L2) use flying monkeys to communicate with each other. I add the appropriate squiggly line with two arrows.

“Transmitted” one-way. Same as above except only one party can contact the other. The paranoid songstress Rebekah deals with her flunkies, F3 and F4, in this manner with talking talisman.

Drop two way. Either NPC can communicate with the other freely by dropping an object or message at a predetermined hidden location(s). The two lieutenants have a message drop at public bath houses with their two flunky messengers, F1 and F2.

Drop one way. The same as above, but only party can send messages. Mogg and sends one-way messages and instructions to one each of their less-trusted agents, A1 and A4, this way.

Here's the completed network map. 



Obviously, this can get very complicated (this is a very simple network), but the pay-off is having a handy easy way to navigate relationships in a meaningful, layered way. (One way to simplify would be to make each node a full team rather than just an individual NPC, a circle of assassins in one town or a covey of witches in another. )

Nurturing an Octopus in Your Sandbox

A few readers asked for more explanation of the Top Secret-derived, character-based sandbox from Wednesday's post. As you might remember, that kind of sandbox was essentially a campaign scenario based around non-linear, player-centered exploration--and elimination or infiltration--of an “Octopus”, the Cold War jargon used by the game to describe a complicated espionage network.

Rather than bore you with a long, abstracted exposition of the various symbolic quiggles and layers of such a beast, I am just going to go ahead and build up over two an example as applied to our fantasy rpg flavor of choice. Let's put on our imagination caps and imagine that we are wanting to introduce a Dark and Sinister Conspiracy into your campaign—and that the players have chomped down on your hooks and are set to battle such a force.

Let's return to the Archsyndocracy of Outer Kutalika. This wee, modest realm is newly threatened by the machinations of Rebekah the Black, a young and ambitious songstress, who has organized a far-reaching network of ne'er do wells.

The ultimate goal of Rebekah's octopus is to install magical amplifying devices in every city plaza, town square, village green, and mole-man burrow in Outer Kutalika. The devices will broadcast her flat, nasally-sung ballad “It's Freyday”--a song so insipid that it boils the brains of all who hear into a stinking, malleable pile of goo--at an appointed time when the two moons converge.

TS's campaign rules set out four hierarchical layers of NPCs for an octopus: Administrators (A), Operators (O), Spies (S), and Cut-outs (C) . Each letter tended to be matched by a number on a roster list, so for the main administrator you'd have a designation of A1 for instance. Each layer will have more power and knowledge of how the octopus runs and for what ends.

Let's translate the lingo into something more appropriately, fantasy-like for our example. At the top you have the Masters/Mistresses (M). Like the shadowy bureaucrats of TS this layer is peopled by either a single, lofty individual or a small, tight cabal. These are the key leaders, if eliminated the network crumbles. In our example Rebekah the Black is the sole diva. Her designation is M1.

Below her are the Lieutenants (L), the stand-ins for the Operators. This is middle management, mostly out of the field directly, but involved with the day-to-day running of the agents. Rebekah has only two lieutenants: One-Armed Jiri (L1) who is in charge of the operations in inner Outer Kutalika and Mogg the Mendicant (L2) who is in charge of outer Outer Kutalika.

Jiri and Mogg both run a crew of three Agents (A) (it's been a long week, if you can think of a more evocative piece of nomenclature, I am game). These dudes do all the dirty work: planting the devices, lacing the town militia's soup with black lotus powder, kicking cats, etc. Mogg's team is made up of the Black Ratter (A1), Carlos the Dwarf (A2), and Sister Anya (A3). Jiri's team is Trellis (A4), Makkabbe he Hammer (A5), and Kugel the Not-Lucky (A6).

At the bottom of the heap are the Flunkies (F). These are expendable servants of all three layers. Flunkies are useful as go-betweens inside the network or for throw-away actions (a one-off and risky assassination, for instance). Their knowledge of the structure and goals of the network will be little to known. They are so likely to end up skewered on the business end of a blade that we won't even bother to give them names: F1, F2, F3, F4, F5, and F6. F1 and F2 are go-betweens to help Mogg and Jiri communicate ; F3 and F4 are used by Rebekah for odd jobs; F5 is a contact for Carlos the Dwarf; and F6 is used by Jiri to keep tabs on Mogg, who he mistrusts.

Our little cabal is complete. 

Here's how it looks on our symbolic network map below before we fill it in further. You will note that I put Rebekah the Black (M1) at the center of the web with her two lieutenants, Jiri (L1) and Mogg (L2) close by. I then divide the network by the Lieutenants sub-networks (conveniently two different geographic regions) with their agents arrayed. I then fill in the flunkies close to the people they serve.



My next post will deal with filling in the rest of that map with the communication links, timetables, and other bells and whistles that make that give this kind of character-based sandbox game its real zing. Stay tuned...

Wednesday, April 27, 2011

Character-Based Sandbox Campaigns

On the face of it, Top Secret is an odd place to keep digging for experimental bits. Back in the day it was—as most of the historically-themed second-generation games—an awkward cousin of the TSR family. Nowadays with little to no current following, we can safely and sadly say it's in the dustbin of gaming history.

Still Top Secret, in it's pre-TSR publication days as Spy World, had it's roots in the mid-70s creative explosion of experimentation with rpgs and as such you can still mine curious bits from it that may either shine a light on alternative paths not taken or be of use for classical play campaigns here and now. ( I pointed out a few months back on this blog TS had trace elements of early concepts that mostly dropped out of the fabric of rpgs: competition and GM-player role blur.)

Another interesting coulda, shoulda,woulda-been TS concept was the idea of a character-based sandbox campaign (as opposed to the mostly location-based sandboxes that we many of us know and love in classic-play D&D or Traveller). I say coulda-been because while the idea of a game based on the non-linear unraveling and exploration of a character-based espionage network was explicitly laid-out in the campaign section of the original rules, game-play and the published modules became quickly centered around the commando raid-like clearing of Bad Guy facilities.

Which is a shame because an interesting space between the old location sandboxes and the heavily-plotted nightmares that marked each successive edition of D&D was lost. Let me back up and break down that forgotten piece.

TS's campaign rules provided several ways to portray a network of NPCs. (For ease of reference I present the page in its entirety on the right here, click to embiggen). There were several layers of the network from the Administrators at the top (which in Spy World were originally playable characters) .

More interestingly there was the use of six different types of communications links inside the network complete with symbolic notations for each: a line with arrows pointing in both directions for a direct connection or a broken line pointing in one direction to signify a dead drop.

In theory, this would be used to make a symbolic map. Instead of hex or area location maps linked by roads, tracks, and rivers you had nodes based on the various agents linked by how they are interfacing with the rest of the network. Play presumably would revolve around eliminating, duping, tracking, spying seducing, etc. each personage along that network in an attempt to break or infiltrate it.

You saw the attempt to use this model in the introductory module, the infamous Operation: Sprechenhaltestelle. Its implementation was a muddle though; the scenario taking place in a fictional spy-ridden Cold War neutral town nestled between East and West typically ran as a locale-based town and dungeon crawl with an awkward attempt to graft the network rules on top.

It wasn't until the release of the Top Secret Companion with its sample campaign scenario Operation Meltdown did you get the full effect of Merle Rasmussen's, the game's creator, intentions. In that scenario, you had a timeline for a conspiracy by a globe-trotting network of baddies spanning the fence from ninjas to South American Nazis.

But the timeline wasn't a plot railroad as much as it was a timetable of events that would happen if the players didn't intervene through their romping around in a non-linear. The focus of play was the team of players jetting around the world, figuring out which person fit where and how to muck up the plans. They could fly anywhere with the help of their various spy agencies, adventuring was completely independent of both the box cars of an adventure path and the restrictions of locale-based sandboxes. Interesting stuff.

To give you a graphic representation here is the comm links diagram for the adventure:


The style of campaign play has an intriguing amount of potential for a fantasy campaign too. 

Say you set a hook, the players uncover a vast conspiracy of forces in the Archsyndocracy of Outer Kutalika to awaken the cosmic horror of long, dead elder gods. They chose to follow this hook and you draw up a network like above for a network scattered around the locales of your campaign world (you could seed it with agents living or visiting dungeons or other traditional adventuring locales to pad out play).

Or take something smaller and more confined, but filled with NPC intrigue: the Golden Khandive's  royal pleasure barge; a drafty, snowed-in fortress; the gizzards of a sleeping god; or what have you.

Food for thought in the sandbox.