Rural environments lie between the cities and the wilderness. They are a broad liminal area, and as such they attract many kinds of encounters in between one state and the other.
This article will look at ways to make rural encounters interesting to the Adventurers.
Keeping The Players Motivated
Okay, so the Adventurers have just left the city limits behind them, and before they get to the wild part of the world they have to get through all this farmland. This is probably the most
So you and the Players are moving fast. They're on their way to investigate some ruin, or explore some place, and on the road they meet ... someone. Something. Only, the moment you announce the encounter, the Players decide to sidestep the whole thing or to hide until it passes.
How do you involve the Adventurers in the encounter without shoehorning them in or railroading them?
Bring in elements, such as hooks and shoves, which draw them in or shove them in the direction you want them
An integral part of enjoying any roleplaying game is encountering other beings. Since the Adventurers will all be together, every single encounter will be with a non-player character.
This entire blog post is dedicated to the Games Master. There are no secrets to be kept from the Players - but if you want to learn the Games Master's art, you can listen in and learn.
The Art of The Encounter
Encounters are what Games Masters do. And like everything else, it is an art form which Gam
Don't gloss over Survival skill.
Part of every wilderness travel phase of an adventure should be to test the Adventurers' mettle. Scenes of travel through an uncivilised environment should be about gauging the protagonists' reactions to crises, and their creativity and ingenuity in coming up with solutions to problems brought about by the environment.
This article looks at the fine art of making it from start to finish, without your Adventurers getting dead at any point along the way.
Just some very rough homebrew inspired by some of the recent talk on the Glorantha board, and the fact that I had nothing else to do today. Enjoy! Feedback is welcome too.
Orlanth Dragonfriend Arangorf the Inner Dragon
When Orlanth slew the Mover of Heaven, he gained the Dragon Power of his left hand. This power was, or brought forth, Arangorf the Inner Dragon, who danced with Orlanth and taught him the speech of dragons. Obduran learned this secret and sacrificed to Orlanth Dragonfriend,
Apologies for the last minute notice.
Tonight's blog will be delayed somewhat. I got called away to an important online conference.
I'm going to put the scheduled release back till Monday, about 23:00.
The locations where encounters occur are as important as the encounters themselves. Wilderness encounters present memorable moments for the Adventurers, as much as the sites of the adventures themselves.
Hans Christian Andersen's fable The Snow Queen was as much about the tests facing the hero, Gerda, as it was about the main action - the rescue of her beloved, Kay, from the clutches of the cold Snow Queen of the children's fable. Gerda's wilderness encounters were all obstacles and temptat
Personal note: Before writing this blog, I thought I'd try and Google the word "horror" to see if I could come up with a suitable graphic for this post.
The search engine just gave me a bunch of faces, close up, staring full screen at the viewer, leering, gurning, screaming, gaping open-mouthed like simpletons faced with their first conjuring trick.
That's not scary. That's just marketing people capitalising on the Uncanny Valley, and presenting the world with a bunch of actors in heav
The Meetings
It was the third year since Cerdic declared himself Westseaxacyning. Aelle had been the Cantacyning for eighteen years and it was eighth year since he had named himself Brytenwealda. Guercha One-eye the Angelcyning was still disputing Aelle's claim to be Brytenwealda for the past three years.
It had been a hard, cold winter and food was short. Hretha had the land in her grip for longer than even the oldest people could remember. The Tamyse was often frozen and people huddl
Mystery novels are among the most popular genre of literature. TV dramas, police procedural series, and true crime documentaries follow the exploits of investigators as they track down the criminals behind shocking and fiendish murders. Yet how do you run a mystery in a Mythras game?
Running Mysteries
Mysteries in tabletop roleplaying games involve asking questions, observing scenes for clues, deduction, and finally identifying a culprit to bring them to some form of justice. Presentin
Mythras Core Rulebook has a resource on page 111 for Games Masters - Rabble, and Underlings. These are a great tool to fill a crowd scene with a "cast of thousands."
What Are Rabble And Underlings?
Neither Rabble nor Underlings need much character generation. The Mythras Core Rulebook has the following to say about Rabble:-
Rabble are foes who intimidate by their numbers but in actual fact have little prowess or willingness to remain in combat once blood is shed. They can take ma
Scenes are the building blocks of adventures. Scenes are exercises in set design, casting, and props. The act of assembling scenes together allows the Games Master to create something for the Players to enjoy at the gaming table.
This week, we look at scenes, and how to use (and reuse) them creatively to provide endless variety in your gaming sessions.
Sources
I'll be referring to Plot Points Publishing's book, Encounter Theory, and also to Mutant Chiron Games' Republic. There are
Just to let you all know, the next few posts on this blog will be:-
Making A Scene (2022-01-22, 10pm UTC)
Rabble and Underlings - An Underrated Resource (2022-01-29, 10pm UTC)
Mysteries (TBA)
Creating Scary Horror Scenarios (TBA)
I regret that, due to a working commitment this week, the next entry in this blog will be delayed one week, until January 22nd. Apologies for any inconvenience.
I came up from the water in iron panoply of war, and the dragon-that-is-bound surged up behind the burning of my left eye, in which the Storm-of-Man my King had set the dragon-rune. Behind me marched my twelve fists of warriors whose prayer-wrought swords left gouts of cold emptiness in the bitter red air, for we were come to the lands where men breathed demon light from the moon and gnashed their teeth at true Breath. Then the sea lords drank back up their spirit, which had carried us with grea
No matter how well you plan and prepare your adventure or campaign, something will always come along which will throw your plans straight into the trash. Your player characters fight when you plan for them to run away; or they run away from a combat scene. You set them up for their first skirmish with the scenario's Big Bad, and somehow they manage to kill him; or you roll for a wilderness encounter, and a tiny party of kobolds somehow make critical successes and wipe out the party on their very
Fire and Violent Death
After the Moot, Wæcla held a feast and invited the Hrothgarsons to the High Table to discuss why they had come to Verulamacæster. Dunstan told the story of the Bannucmann in the hope that he would distract Wæcla’s attention but got himself tongue-tied and the listeners lost interest in his telling of the tale. Dunstan was upset with himself but most of the warriors were so drunk that Wulfhere said to him that he did not think it would affect their standing in the Hall
Friendship is important to Mythras. Not only do the Players need to come together - so do their Adventurers.
This article explores the nature of team friendship, and what it means to the success, or failure, of a Mythras adventure.
Beginning with Session Zero, when the Adventurers are being generated together, the Games Master should bring the characters together, finding what is common to them or creating connections if they do not seem to have anything immediately in common.
Bac
Sooner or later, it is going to happen. Your Players' favourite Adventurers are going to enter a battle too far, and one of them will receive a critical injury, which turns into a fatal one when they fail their Endurance check and bleed out on the cold, unforgiving ground.
And you, as the Games Master, are going to have to tell your tearful Player that their beloved character has died.
Character Death
There are many ways a character can die. They can suffer a Serious or Major Woun
Let's play "spot the difference."
Intro 1: "You, er, enter a room. There are ten orcs sitting around a table, playing some sort of game of chance. They stop what they are doing and charge. Roll for initiative."
Intro 2: "You follow the sounds of arguing to a room behind a closed door. Opening the door, you see a group of orcs in a room. They are arguing amongst themselves. They look like Greykin's orcs, and their armour bears the sigil of that foul wizard, your greatest rival.
"Yo
Poison and Treachery
The old Roman city of Verulamacæster was decaying. Many of the buildings had collapsed and had been replaced by Saxon buildings. Some of the most impressive still stood and it was possible to imagine what the city had looked like in Roman times.
In the old days the British tribe, the Catuvellauni, lived in the area of their chief city that they called Verulamium. It was said the Romans had built the city to make the Catuvellauni more like them. They had succeeded
This blog post goes back to the topic of hypnosis, and its use in roleplaying games - and not merely Mythras, but many other roleplaying games. In this post, the focus falls once again on the Games Master, and on the fine art of telling a story, through which they can guide the Adventurers.
Engagement
The blog has already covered the topic of immersion. This time, the emphasis is on engagement. How can the Games Master draw in the players and make them feel involved in, and engaging in
