Introduction Seeds

 .Seeds for introduction scenes

A scene being an introduction to a session already provides a kind of seed in that we know it will contain a hook to pull us into the adventure and get things started.

It is often helpful however to have more specific seeds to work with.

Here are a few ideas that can be used to seed an Introductory scene. These are examples. For the best results, create a custom list (for the campaign as a whole, or even to suit the current situation within a scene)

There are 6 seed ideas, so you can either choose one that fits the situation or pick one randomly by rolling a. D6.

As always, if a seed doesn't fit them either ignore it (leaning on other seeds instead) or reroll it.

1) Challenge

The session kicks off "in media res" with the characters immediately confronted by a dangerous challenge. See challenge seeds for more ideas.

2) revelation

The session kicks off with a revelation scene, introducing unexpected information that will draw the characters into the adventure.

3) dark portents

This is a variation of the revelation scene where the characters come across hints of trouble yet to come.

Dark storm clouds are gathering on the horizon. Factions are mobilising. Something is about to happen, and it is difficult to figure out what, but it certainly can't be ignored.

4) crisis

The signs have either been ignored or they have been missed (if there were signs in the first place). The situation has just exploded and it is up to the characters to manage the fall out.

5) Disaster

The crisis is not happening, it has happened.

Perhaps somebody has been killed. Perhaps a disaster of some kind has occured.

Either way, it is too late to stop - it has already happened but either it will throw up questions that need answering or a challenge that needs responding to.

6) something strange

Something weird has happened that changes the assumptions of the situation.

Maybe the characters are held in captivity, or their mind has been messed with, or things are not what they seemed.

The specifics will vary depending on the campaign in question, but either way figuring out what has happened and how to get things back to normal are probably the most pressing goals.

5 session stories

 5 session story arcs

In the same way that a modified 5 room dungeon can be used as a structure for a session, it can be used as the structure for a story arc.

This can be extended in exactly the same way as the variable scene session.

1) Introduction

Much like a hook scene, an Introductory session presents the conflict or goal that the characters will navigate through the story arc.

3/4) challenge or revelation

The variations on the middle scene are implemented a bit differently in a story arc.

You COULD have alternating sessions consisting of only one or the other, but that would mean pretty one dimensional sessions and loses a lot of the benefits of the 5 scene approach to sessions.

Instead, challenge or revelation flavours the overall goals of the session and the conclusion.

There are two options, and both are equally valid:

You can combine challenge and revelation into every session - finishing each with a dangerous conflict that drives the story forwards. OR you can alternate between challenge sessions intended simply to provide conflict and revelation sessions that are fundamentally about shaking things up and driving towards a conclusion.

The choice is one of pacing. Combined sessions create a relentless pace where every session is a scramble to both survive and move forwards, while alternating sessions give a bit more time to reflect and plan.

4 and 5) climax and resolution

The climax of a story arc is the culmination of multiple sessions of play and should be a dramatic ending that closes a chapter of the campaign.

The resolution should consolidate and generate seeds that can be used to inform the next story arc

5 arc campaigns

Implementing this structure on the campaign level works the same as implementing it on the story arc level just with grander stakes.

1) introductory story arc

The first story arc in the campaign should set the tone and introduce the key players.

Stakes should be relatively low (compared to the projected stakes of the campaign as a whole), but can hint at greater things.

This arc should have the characters working mostly within their comfort zones, with the climax breaking them out of that and hinting at far greater dangers than they were expecting.

2 and 3) challenge and revelation

For most campaigns I think it makes sense for every story arc to be a combination of both challenge and revelation.

Campaigns that have investigation and discovery as major themes however might get away with alternating story arcs although I have not tested this in practice.

4) climax

The climactic story arc is the culmination of an entire campaign and should have epic stakes.

5) resolution or surprise

The final story arc of a campaign is a bit of a strange one.

The climactic arc has already happened. The campaign has peaked, and the final arc is somewhat of a come down in terms of stakes and tension (unless of course an unexpected twist throws the stakes back in the air).

If you are concerned about it being anticlimactic then it is fine to finish with the climax and leave the campaign on a high (after all, the campaign is structured the way it is in order to provide as many jumping off points as possible - you can finish wherever you like)

If you want to keep playing beyond the climax however, the final arc is about finding closure.

It is unusual in that it isn't generally intended to generate new seeds, although if you want to prepare the ground for a future campaign it certainly could do this.

It should tie up loose ends, answer any questions you have left, and give you a chance to see how the dust settles. 

5 scene sessions

 5 scene sessions

After playing around with a lot of different adventure structures, i have found that one of my favourites for structuring sessions is a modified form of the five room dungeon (with modifications heavily influenced by interface red)

The 5 room dungeon is a great simple setup for a session.

At its simplest it involves 5 "rooms" that can each be played out as a scene. Although these do not need to be literal - they could easily be scenes based on locations or events instead.

The important thing is that the session has a goal it is working towards and that this goal will be met at the climax of the session.

The traditional 5 room dungeon (as envisaged by John Fior) has the following rooms:

1) Entrance

2) Puzzle or roleplaying challenge

3) Trick or setback

4) Climax

5) Reward/ revelation/ plot twist

Room 2 and 3 can come in any order.

There has been plenty written about the 5 room dungeon elsewhere so I won't go into any more detail here other than to say it forms the basis of my most successful session structures to date.

I have however modified it a little, partly inspired by the story structures from Cyberpunk Red...

The modified 5 room dungeon (the 5 scene session

As always, start with some story seeds to create a premise in a similar way to how you would create a premise for a scene.

Hook: this isn't really a part of a traditional 5 room dungeon, and isn't necessary if you already have a strong hook in the premise. Often however, it helps to run a scene simply focused on getting the characters involved with the session.

1) the Hook/ inciting incident: This could be combat, a puzzle, a social event, or some other form of challenge. The important thing is that it draws you and the characters into the action. Often people spend a few scenes meandering and exploring before finding something that hooks them into a story, but I find that with limited time and attention I need to jump right in.

This scene needs to fulfil two goals: firstly it needs to introduce (or bring front and center if it has already been introduced) the problem the session will focus on solving, and second it needs to be interesting and unexpected enough to get the ball rolling.

The middle scenes (challenge, and revelation) can come in any order.

While wrapping up the hook I roll 1d6 to see which scene will come next: on a 1-3 it will be a challenge. On a 4+ it will be a revelation. That

2) challenge.

A challenge scene involves some kind of dangerous activity that puts the characters in jeapardy. It could be a fight, a chase, an ambush: anything that creates an immediately dangerous and pressing situation. Secondary challenges or complications may be present as well or may develop as the scene plays out.

3) revelation. Or skill based challenge.

A revelation scene could be finding or processinginformation, an unexpected meeting, a twist that shakes things up. There may be a challenge or complication of some kind, however the stakes will be lower than in a challenge scene.

The important thing about a revelation scene is that it must have at least the potential to impart new information to the characters - either encouraging them to forge ahead or demonstrating that they are on the wrong track.

4) climax

The climax generally takes the form of a challenge of some kind, but it might take the form of a revelation. It might even be a mere formality as everything falls together or falls apart.

Either way, it should provide a satisfying conclusion to the session.

5) Resolution or surprise.

The final scene in a session needs to wrap things up, either tying up loose ends or preparing them as seeds for future sessions.

Generally it will simply be a narrative scene, perhaps with an oracle being used to clarify any remaining questions.

Sometimes however it may include a surprise that might introduce a final challenge of some kind.

The variable scene session

The 5 scene session, much like the 5 room dungeon is a useful structure however it has one flaw that has always bothered me: it is very short, and it is always the same length making it too predictable.

This can be changed easily however.

Scenes 3 and 4 (the middle scenes) can simply be repeated multiple times before reaching the conclusion.

I generally prefer to play full iterations of both middle scenes.

After playing the second middle scene I roll 1d8: on a 1-6 I play another iteration of the middle scenes. On a 7+ I move straight to the climax.

After the second iteration I roll another d8. This time I move to the conclusion on a 5+.

After the third iteration I move t to the conclusion on a 3+

After the fourth iteration I automatically move to the conclusion.

This gives me a session running between 5 and 11 scenes.

Sometimes I want to have shorter session, in which case I roll a D6 instead of a d8, giving a maximum session length of 9 scenes. 

Scenes

 Scenes

I always set up scenes in a similar way.

1) purpose

Every scene serves one or more purposes, and the first job in setting up a scene is to establish the scenes purpose.

I have distilled a number of general purposes for scenes, but different structures and circumstances may provide others.

Hook. The first scene in a session will often provide a hook into the sessions events. Something to get the ball rolling.

Action. These used to be the only scenes I ran at all. They are the scenes that most RPGs mechanics support, and provide the excitement.

Development. Interface Red introduced me to these scenes. I intersperse them with action scenes and they provide space for reflection, plot development, character interaction etc. stories are much richer for their inclusion.

Climax. Every session should build to a climax. A big event of some kind that ties everything together. Often I play this as an action scene.

Resolution. I finish sessions by tying up loose ends, seeding hooks for future sessions, and generally rounding the adventure off.

Seeds

A scene begins with one it more seeds. These are ideas that can be combined to give a premise for the scene.

I have found that generally I want two or three seeds, and pull as many of them together into a scene premise as possible.

Seeds can come from (amongst other places):

Character goals

Scene types

Random idea generators

Game structures

NPC goals

RPG specific generators

Never be afraid to gather more seeds for a scene, especially if no premise springs to mind. You don't have to use them all, but weaving as many together as possible can lead a story in unexpected directions.

Once you have your seeds, pull as many ideas from them as you can into a single sentence describing what the scene will be about. This is the scene premise.

Test the premise

Once you have a premise for the scene it is best to test it using a GME.

If the scene is altered or interrupted, you can use the seeds to help guide a new interpretation of the scene.

Build challenges

Once I know what the scene is going to be about, I can use the rules of the RPG I am using to build any challenges or set up any mechanics I will need for the scene.

The more I can set up in advance, the less I need to set up while playing and the smoother the scene will run.

End scene

Once things have run their course, I take stock and Update anything that needs updating.

Then I look at character goals (both pc and NPC) and note down any changes that might lead to seeds for new scenes - the goals and plans of my player characters are especially useful for this. 

On Campaign Structure

On the structure of campaigns

Recently I have been experimenting a lot with the structure of stories and campaigns.

I have a number of competing needs in terms of structure when I play a solo game:

- I like to create a meaningful story with narrative beats.

- I like flexibility so that a story can take any shape it needs to

- I like epic (and so long) campaigns

- I need stories to be short enough that I can get a sense of completion before I get bored and wander onto something else.

- many RPGs assume you will play in "sessions" however these are difficult to define in solo games that tend to be played in a more as hoc fashion.

There are plenty of story structures out there, and I will hopefully cover some of them in their own posts.

Many narrative structures provided by early pioneers in the hobby, such as 9 questions and 5 room dungeons provided great narrative beats and short stories but I found the structures a little too predictable in some respects.

Many GM emulators (such as mythic and PUM) later developed their own story structures with narrative beats that were less predictable but also considerably longer.

After a lot of experimentation I have settled on creating campaigns using a layered structure with elements from each layer combining to make the next in a similar fashion to a Fate fractal.

Let's start with the smallest building block of a campaign:

Scenes

It is possible to play a freeform game using a GME without breaking it into scenes, however they are a foundational narrative building block for a reason - they work.

I tend to have a scene comprise a single main challenge or activity, and potentially a couple of extra complications.

Sessions

Outgunned breaks stories down into "one shots" (or just "shots"), which are complete stories beginning with a hook and ending with a climax and resolution, that are short enough to play in a single session.

The idea is that every session should provide a satisfying story with a conclusion.

I love this idea, and have adopted it whole heartedly. It both provides me with short but satisfying gaming goals, while at the same time gives me a mechanic for tracking a "session" for games that need it.

On average I play around 9 scenes per "session" with a loose minimum of 5 and maximum of around 12.

Story Arc

Sessions are grouped into story arcs consisting of between 5 and 12 sessions (again, with an average of around 9).

Much like a session, a story arc will have an introduction and a climax of some sort.

If I have a group of characters, I will often play through separate introductory sessions for each before bringing them together in the first story arc.

Often each story arc will culminate in facing a mini boss or completing a larger goal.

This layer provides a slightly longer term goal and gives structure to a campaign.

For a more complicated campaign, there is nothing to stop story arcs from overlapping or interweaving with each other.

Campaign

Story arcs are grouped into a campaign, with the first story arc introducing the campaign and the final one providing the conclusion and resolution.

Again, a campaign should generally consist of between 5 and 12 story arcs with an average of around 9.

This layer gives me the epic campaigns I am looking for.

Game structures

The nice thing about treating a campaign as a fractal is that the same (or similar) structures can work at any layer of the fractal.

Story structures providing around 5 to 12 scenes can be used to structure a session, but with a little tweaking they can structure a story arc or even a whole campaign.

You can play around with different structures at different layers to give the campaign a unique feel.

A 5 room dungeon for example could provide a small dungeon fit for a sessions exploration, an in depth exploration covering a story arc, or even the focus of an entire campaign.

 

Otherscape character creation

 Anatomy of tags

Based on their purpose, there are 3 basic types of tag:

B - Broad tags

This category includes both broad tags themselves, and tags whose primary function is to support broad tags and increase their power.

Broad tags are flexible in allowing (or supporting) a whole range of actions, but the downside is that you have to spend an action preparing first by converting them into a more directly useable form first. 

There are two ways to do this. Firstly, if you simply want to enhance the power of an existing tag you can create a status. This has the benefit of converting into power on a 1 to 1 basis, but doesn't add any flexibility.

Secondly you can create an entirely new tag. This gives the flexibility of enabling an entirely new action, but it sacrifices power in order to do so converting on a 2 for 1 basis.

A - action tags

Action tags most important job is granting narrative permission to perform an action. 

S - support tags

In reality these are action tags with overlapping permission meaning that they support each other in performing a single action. If you have 3 tags about attacking, then effectively two of them are acting as support tags.

In practice, careful wording might stretch the actions they can apply to but for the most part support tags are about enhancing the power of a single action rather than adding the flexibility of new actions.

One theme

A theme consists of 3 tags, so it is useful to look at how this basic element can function as a whole. 

There are several different possible configurations;

AAA

The most intuitive thing to attempt for a new player is three tags, each of which adds a separate action. This is not always acheivable in practice, because it is harder to make the title tag an action tag.

It gives you narrative permission for 3 actions. The problem is that each of those actions will only be rolling with 1 power.

Extended across all 4 themes, this ends up as probably more actions than you need none of which are especially powerful, which is why you need tags that support each other (either within a theme or across themes).

This is the only configuration which I see as a "trap" option in otherscape. 

SAA

The next logical step is to use one of those tags to support another. This still gives the flexibility of two actions, but increases one of them to two power which I feel is a big deal.

Some clever thinking, and actions that are not too diverse might allow both actions to be supported, but for the most part you will end up with one at 2 power and the other at 1.

SSA

The next option is to keep the theme tight, allowing all of the tags to support one another. This limits its flexibility, but maximises its power and is definately worth dedicating a theme to for something you will be doing regularly.

BAA

The other option is to try and maximise flexibility at the expense of speed, and include a broad tag.

Given the nature of the title tag, it is a likely candidate for a broad tag making this a common configuration.

This is a fairly flexible set up, giving two actions with a single power but allowing the broad tag to charge either with a bit of extra power by creating a status, given enough set up time. 

BSA

I feel like there is little to gain from this set up. Another trap option. The broad tag is just acting like a supporting tag that takes longer to set up. It should be noted however that by taking multiple set up actions, the broad tag CAN stack a status creating a bigger boost so if the action is not time sensitive and you are willing to take the risk then it might be worth it.

BBA

In order to get the most out of broad tags, you need at least two of them. This allows you to create a tag, and unlocks their incredible flexibility.

You still have a single power action ready for immediate use, however now with set up time you can either boost that action to 3 power by creating a status, or create a tag allowing you to perform any action under the perview of the broad tags. 

This gives incredible flexibility, but shares the same problem as our AAA actions with their limited power. 

Adding another tag

It is clear that trying to combine three tags from a single theme into useful actions has limitations, however it is fairly easy to draw another tag into the mix either from another theme or from your load out giving you an extra tag to work with and opening up some useful options:

SSSA

First, just maximising power, giving your action 4 power. Definately worth considering as a dedicated action for mitigating harm. Probably worth considering for a powerful attack or similar.

SSAA

The second option is to have two actions both supported with 2 power each, making them both that bit more useful.

BBSA

This allows you to have an immediate action for 2 power while either setting up a flexible action with 1 power or charging your action for 4 power. 

BBBA

putting more emphasis on your broad tags gives you more power for your flexible action at the expense of minimising the power of your immediate action.

This setup gives you 3 options:

create a tag (for flexibility) and a status charging it to 2 power.

Charge your action with a status for 4 power.

React immediately for 1 power.

BBBB

The final option is to go all out on broad tags. This means you can't do anything without seeing it up first however it does give you powerful flexibility, allowing you to do anything in the themes perview with 3 power (using 2 power to create a tag and 2 power to charge it with status 2).

Mixing themes

Of course there is nothing to stop you from mixing themes together or drawing power from multiple themes for a single action.

With a full set of 4 themes you have 12 tags to play with. I think it is useful to think of this as 3 sets of 4 tags (meaning a set will draw from more than one theme), with load out tags providing flexible extras as needed.

Generally it is probably wise to devote a set to defence/mitigation of the most likely statuses. That leaves two sets for either immediate actions or broad actions.

Playing Wizards in WFRP 4e

 I often see posts from people asking how to optimise a wizard, or wondering if Wizards are even viable in 4th.

The most common response I see is to start as a witch (for instinctive diction) and then move into wizards apprentice and go from there. This is a hold over from when 4th was first released and channeling was arguably not worth the effort, and I don't believe it is necessary any more for reasons I will explain below.

Wizards apprentice and petty magic

Whichever wind you channel, you are going to start your career as a wizard apprentice/Acolyte/ or whatever else your order calls students of magic.

The only magic open to you at this point is petty magic, and frankly it might be best to skip it.

From a legal perspective, petty magic is considered to be dark magic and therefore discouraged at best. This is not something you are going to be taught by your order, and not something you should practice openly.

From a rules perspective it is not great - at least not in combat. Dart is probably less effective than a good staff or crossbow, so unless you desperately want to fling spells at people you should probably give it a miss. You are not a wizard yet, you are essentially a fighter. Get used to it.

This is probably the single most common complaint I see about people playing Wizards apprentices. They want to cast spells but end up hitting people with a big stick instead. WFRP characters start small. Relax, get used to using your weapon, that way you will always remember it is there as a back up.

If you are going to flaunt the law and make use of petty magic, stick with utility spells. Look for things that give your party capabilities they wouldn't have without that spell. Open lock can fill in a gap in the party of you don't have anyone capable of picking locks for instance. Eavesdrop is another spell that can trivialise some situations.

On the whole though, you essentially a not so big or  stupid are a fighter with a big stick. And not a very good one at that, because you are going to be spending your experience on things that you can't even make use of yet.

Aethyric Attunement

The big dilemma facing a Wizards apprentice is that aethyric Attunement is hugely useful later in your career but completely useless now, yet has to be bought now because it doesn't show up in later talent lists.

You need to take it, but it is a point sink that will do nothing immediately other than put you behind your allies in terms of effective advancement. That means it should probably be the last thing you take before graduating to become a proper wizard.

You need to get it once. This will mitigate miscasts when channeling, and make your channeling more effective. If you can spare the experience I would advise taking it a second time for an extra boost to channeling. You don't need any more than that because "winds of magic" gave you more efficient ways to boost your channeling that I will talk about later.

Characteristics

It goes without saying that you should be pumping Int and WP as high as you can. As a wizard, they will be your most useful characteristics by far. All through your career you are going to be judging whether it is more cost effective to boost Int/WP or language(magic)/channeling, or wether there is a different way to boost those skills more cheaply.

I would probably start with WS however as an apprentice, because it is going to be more immediately useful while you rely on your staff to get the job done.

Skills

Basically the same advice as above, but it bears repeating; itgoes without saying that you should be pumping language(magic) and channeling as high as you can. As a wizard, they will be your most useful characteristics by far. All through your career you are going to be judging whether it is more cost effective to boost Int/WP or language(magic)/channeling, or wether there is a different way to boost channeling and casting more cheaply.

After that melee (pole arm) is going to be useful, especially early in your career. In fact I would focus on this first as an apprentice, for the same reason I would focus on ws first. Channeling and language(magic) are mostly useless until you actually have some spells to cast.

Cool is another useful skill to have, because not only will it help you resist fear but it will help retain the magic you have channeled when you get interrupted. And you will get interrupted.

Fancy robes

A small change with a massive effect is that magical robes now give bonuses to channeling - and you are given them for free when you rise in your career!

This means that as a graduate wizard with some standard robes you will be getting +1SL on your channeling tests (in addition to the aethyric Attunement bonuses you picked up). This should be enough to channel the power to cast a CN 4 or maybe even 5 spell in a single round.

As you get more powerful, and want to cast more powerful spells, your robes get fancier and the bonus grows with you.

 This is why you only need 1 or 2 levels in aethyric Attunement. 

Rituals are your friends

The second thing winds of magic added are rituals, and they provide a huge boon to Wizards.

Enchanting your staff will provide +1SL on casting tests and you should be capable of performing it during your second career as a newly graduated wizard. If you have access to your college (or an outpost of it) then you should probably be able to get access to a grimoire containing this ritual. It strikes me as something that should be fairly ubiquitous. Performing it from a grimoire requires channeling a lot of power however and as a graduate will require a lot of dice rolling (I was tempted to do it as part of my Wizards graduation until I realised that it would take an average of 200 or so channeling tests) and quite a few rolls on the miscasts table. Learning it will make it much more manageable and is a bargain  considering it is 100exp for what is effectively an extra level of instinctive diction that doesn't increase the experience costs. 

The second ritual you are interested in is summon familiar. A power familiar assisting you will grant +20 to both your channeling and casting tests. This takes a lot more channeling, so is probably best left until a bit later in your career. It is also probably harder to convince your college to give you access to it. Given the high CN it is also probably worth learning, if only to avoid endless dice rolling, but 450rxp for effectively getting +20 to two skills (and it helps with research as well) will quickly become a bargain as the costs of getting more advances in those skills mount. Once you have gotten your first familiar it can even help you summon your second.

Potions

They are expensive to buy ingredients for, but making them relies on a skill you are boosting anyway so potions should always be something you consider for your arsenal.

There are several potions that benefit you, but the most important is probably a draught of power because it can half the CN of a ritual - making it easier to get the enchanted staff and familiar mentioned above.

Spells

As I have mentioned, it is going to be some time before you have any effective combat spells available to you so you need to get comfortable using your staff until well into your second career.

Once you do however, you want to learn spells that you can reliably cast after channeling for a single round. Remember that you don't have to choose your spell until you know how much power you have channeled however so it is ok to learn one or two that need a higher channeling roll to prepare, just so long as you have something a bit more reliable as a backup. This means you are aiming to cast a spell every other round.

 As a freshly graduated second career wizard with 2 levels of aethyric Attunement and standard robes you will gain +3 to your channeling tests. Given that a successful test should get you at least 1SL, you should be able to reliably cast spells of CN 4 , maybe CN5.

As  you climb the ranks and gain fancier robes with higher bonuses, not to mention better skills and maybe a power familiar, the power of the spells you can reliably prepare and cast will grow. By the time you are a wizard lords with elaborate robes you will be gaining +5 on channeling tests with a further +20 to your test from your familiar (or +40 of you have two of them) allowing you to reliably cast the most powerful spells.

So why not start as a witch

In the early days of 4e, channeling was not seen as worthwhile by many. Now that reducing CN to 0 by channeling IS a viable game plan, I think instinctive diction is less essential than it once was.

Of course instinctive diction is still really good, but you have to balance the cost of taking a whole career to get it, further extending the amount of time you will be relying on your staff with no benefits until you finally get around to learning spells.

Given that you can probably get an enchanted staff early in your career that will grant an extra SL anyway, and you will be channeling to reduce CN to 0 and overcasting through that, instinctive diction can probably wait until your third career. The only real problem is that you will not be immune to miscasts when rolling total power.

It is a balance. If you are willing to wait to become effective and actually start casting magic, then starting as a witch to gain instinctive diction might be worthwhile (and has the benefit of role-playing a societal misfit as they find their way into the college's of magic), but I don't think it optimal.