A rich backstory?
A thirst to prove themselves, to explore?
A righteous cause?
Or…something shiny that will either buy them many nice things or help them kill stuff better.
That being said, you probably shouldn’t troll your players by making “friendship” the final reward.
We Don’t Have To Fight. Let’s Do, Though!
Welcome to the very first level, young adventurers! To get you started, let’s pit you against a monster perfect for learning the basics: TIAMAT!
…What do you mean this isn’t appropriate for your levels?
…Well, how would YOU suggest we plan this encounter, then?
If you are striving to be a responsible adult, that is ALREADY A HEROIC STRUGGLE and good job making it this far.
Every writer dreams of making their art reality for all the world to see. They also dream that the art will be well-received and beloved.
And everyone, not just artists, dreams of getting paid to do what they love.
But to get paid, you need to work. To work, you need marketable skills which the job market wants.
…So…how can we put that Master’s Degree in English Literature and our five Dynasty Warriors fanfictions to work?
And if they keep getting rejected by NPCs, it’s essentially a case of “You need experience to work, but you can’t work because you have no experience.”
It’s roleplaying game week on this blog, and so I am here with a simple guide on a topic helpful to most game masters: Planning adventures for roleplaying games. Or, in tabletop gamer terms, a campaign!
Kind of like the campaigns from Warcraft and StarCraft, only interactive and with crazy characters who never do what you want and hurtle headlong into disaster as you silently urge them to make the sensible choice.
No wait, EXACTLY like the campaigns from Warcraft and StarCraft.
You can’t just gradually farm enemies that get slightly stronger until you’re just one level behind a boss.
In life, we know conflict. Strife. Difficulty levels.
There’s easy. Normal. Hard. Extreme. And Cuphead/Dark Souls. The measures which tell us just how hard a time the protagonists will have.
And as it is the sacred duty of writers to give our characters a hard time, it pays to understand just how BADLY our torture devices/writing tools will hurt them.
Oh, and uh, how that reads for the audience. Of course.
So Major USA is defined by his love of freedom and refusal to use the metric system, while Captain Canada is unfailingly polite and considerate.
TOTALLY UNJUSTIFIED PRIDE IN MY HOMELAND!
But what happens when you make a CHARACTER like that? What’s the deal with the guys who actually chant “U! S! A! U! S! A! U! S! A!”?
The norm always applies no matter how preposterous the setting, like “what if people’s farts were visible.”
Miracles. Fantastic happenings. World building. All part and parcel of creating a story’s world.
But why is it that in one setting, the ability to produce a spark of flame is a magical miracle, while in another, you have people routinely teleporting to different planets for a small fee?
Aside from the fact that the author wrote it that way, of course.