All posts by Damon Sasi

Chapter 31: Distractions

The first thing that makes Blue reconsider his enthusiasm is the sheer number of geodude, zubat, sandshrew, graveler, and other pokemon flooding out of the hole in the mountain.

The second is the cloud of spores that pour out after them, disguised and mingled with the dust of the collapsed earth. Blue watches as a graveler pulls itself up into the sunlight and takes two stumbling steps forward, then collapses onto its face to reveal a back covered in visibly growing fungus.

Goosebumps break out along his arms as a childhood fear returns, spawned by nights of staying up past his bedtime to secretly watch zombie movies. Until his parents died, waking to find his friends and family stumbling around with blank white eyes and fungal caps was his most recurring nightmare.

Migrating parasect colony, or maybe a rampage, started a stampede. Fire and Flying pokemon are top priority. He pulls his facemask on and unhooks Zephyr’s ball, then hesitates as the wave of fleeing pokemon approaches them. Hopefully they’re too panicked to do anything but run, but if he summons a pokemon in front of them they might attack it-

“Steven and Janet, clear that cloud out! Everyone to the west of the opening, move north or south immediately!”

The voice comes from Ryback’s radio, and the group skids to a halt as they realize within seconds of each other that they’re in the danger zone. Leaf breaks southward first, and the rest follow her, keeping an eye out for the stampeding pokemon that run or fly past them, oblivious to their doom.

A trio of sandshrew scurry toward them in an intersecting route, and Ryback unclips a ball and throws, summoning a sandslash in a blink. “Keep going!” he tells them as he stops behind his pokemon.

The trio doesn’t even exchange a look, all three stepping beside him and summoning Maturin, Bulbasaur and Spearow. The oncoming sandshrew hesitate, then dive under the ground. They brace themselves for an attack, but after a few seconds the pokemon pop out of the ground behind them and keep fleeing.

They withdraw their pokemon and continue southward until they reach one of the portable buildings and run behind it. “I had that handled,” Ryback says. “If you want to help, you’ll have to defer to those of us here. Understood?”

Blue opens his mouth just as another voice speaks from the radio. “This is Janet, we’re in position. If anyone’s not clear, say so now.”

Ryback presses his radio button. “Ryback here, we’re clear, over.”

“Hiro clear, over.”

“Natalie and Carmin, clear, over.”

Stupid, she said to say something if you’re not clear. The last of the pokemon from the hole are dispersing past them, and Blue fights the urge to take out pokeballs to grab some. It seems like such a waste to just let them run by, but they might have a chance to pick some up later, and it’s not worth the risk of starting an unnecessary fight in such a volatile situation.

“Incoming whirlwind, over.”

They watch as the cloud of dust and spores gets caught in a slowly building cyclone, and shift in a slow spiral as it blows westward. It sails over the fleeing pokemon in its path before dispersing into the open air past the edge of the mountain. Blue watches the heavier pokemon that don’t get swept up collapse, skin covered in spores.

With the obscuration out of the way, they can see the dozens of crimson paras and parasect crawling over the mountain in outward waves, emitting a new fog of spores as they go.

The voice of the ACE on the radio is calm. “Parasect colony is climbing out of the mountain. Fire pokemon out front, Flying in support. Poison special attackers. Everyone else, watch for strays. If at all possible, try and protect the fossils. Rangers are inbound, first ETA is fifteen minutes. Over.”

Ryback raises it to his mouth. “This is Ryback, we’ve got about a dozen pokemon that were in the path of the twister growing shrooms, over.”

“Natalie here, I’ve got it, over.”

Ryback reclips his radio, then turns to the trio. “What have you got?”

“Charmander,” Red says. Nidoran and Spinarak are Poison, but not special attackers.

“We have pidgey,” Blue says, cocking a thumb at Leaf.

“They’re not enough, but the charmander might help. You’re with me, Red.”

Red hesitates, then nods and steps forward as he unclips Charmander’s ball. Ryback turns to Blue and Leaf. “Can you two hold a perimeter?” Blue and Leaf nod. “Good. This is one of the buildings we’ve been storing fossils in. Keep any rampaging pokemon from destroying it, if you can, and stop them from coming up behind us.”

Ryback moves around the building and toward the oncoming swarm of paras and parasect. Red’s face is pale, but he raises his fist, and Blue bumps it.

“Guess it’s your turn for thrilling heroics.”

“At least your arm’s not broken.”

Leaf hugs Red. “Be careful. Watch the cross-wind.”

Blue smirks as his friend freezes, then awkwardly pats her shoulder. “I will. Keep Blue out of trouble.”

“Why do I always get nanny duty?” Leaf grumbles, lips twitching upward.

“I’m sorry, of the three of us, which has a badge again?” Blue asks.

Red gives a weak smile and jogs after Ryback. Blue and Leaf watch him go, then summon Zephyr and Crimson as they move back to back to cover both sidelines.

“Zephyr, scout!”

“Crimson, scout!”

Blue watches Zephyr loop around them in the air, slowly scoping the area for any approaching threats. He keeps his gaze on the ground, watching for any telltales signs of pokemon burrowing under the surface.

To his right, Blue can just make out the beginning of the assault in his periphery. Blasts of fire and gusts of wind hit the expanding cloud of spores from multiple directions, keeping it and the insects emitting it, or more accurately the mushrooms on their backs, from advancing. There’s an occasional boom as fire causes a pocket of spores to combust all at once.

Blue wipes sweaty palms against his pants. Red and Charmander would be backup to the more experienced trainers with stronger fire pokemon, picking off any paras that get too close, or helping cleanse the bodies of overrun pokemon before they begin emitting their own spores. They wouldn’t be near the center of the fighting, and should have plenty of time to fall back if they get overrun…

He forces himself to go back to scanning the rest of the digsite, where wild pokemon continue to run around haphazardly. The occasional ACE or scientist rushing to join the main fight engages them, whether by their choice or the pokemon’s, and three separate battles break out in Blue’s field of vision.

“If one of them need help, and we’re just standing here doing nothing…” Leaf says behind him.

“Yeah.” Zephyr lets out a warning cry as a group of zubat flutter by. Blue feels the merciful cool of the battle calm descending as they flutter and loop closer and closer, only to soar away when Zephyr gives a louder battle screech. As they go, his antsy excitement returns, sending useless energy through his arms and legs, commanding him to go, fight, help.

A gout of flame to his left makes Blue turn to see a woman with a flareon cleansing the pokemon that were caught in the spore cloud. She reaches a graveler that shudders as soon as the flame finishes washing over it, and a flash of light quickly captures it before she moves on to the next, making her way toward the mountain’s edge.

“Got movement here,” Leaf says. Blue unclips Maturin’s ball and looks over his shoulder to see a growing bulge moving through the ground as something digs beneath it. “Go, Bulbasaur!”

Her pokemon flashes into existence just as the sandshrew reveals itself. “Vine whip!”

Her pokemon extends its vines and rears them back, but the sandshrew dives back underground before they can land. They watch the sandshrew burrow away, and Leaf reclips her ball without withdrawing Bulbasaur.

“Do you think-”

Leaf is interrupted by a heavy rumble beneath them that sends both to their knees. “Either someone just used Earthquake, or we need to get off this side of the mountain,” she says. “More of them might be coming up under us.”

“There might be an onix digging around to get away from them, but it probably won’t head any farther up.”

“Probably?”

“Hopefully. What do you want to do, sound a full retreat? They might not want to leave their fossils.”

Leaf bites her lower lip. “ACE is in charge of security, maybe we can get one of them to-”

This time both Zephyr and Crimson give warning cries as another flock of zubat race toward them. In the space of a heartbeat it becomes clear that these are not going to just fly by, and the battle calm is there like a cool cloak round his shoulders.

One, three, five, six, seven. Blue braces his arm. “Go, Maturin! Water Gun!”

“Bulbasaur, return! Go, Ledyba! Supersonic!”

Water and sound knock a zubat out of the sky and send two more tumbling in different directions, and then their pidgey engage the rest of them. The zubat are smaller and more agile, but the birds are ever so slightly faster, keeping ahead of the swarm’s poisonous fangs.

Blue and Leaf focus on directing Maturin and Ledyba and let their pidgey’s instincts take over. Blue feels the split in attention keenly as he keeps trying to pay attention to what Zephyr is doing while finding new targets for Maturin, but a distant part of him observes the wider battle, and thinks of ways to end it. “Water Gun! Water Gun! Those three are coming back, we won’t be able to avoid them all.”

“Supersonic! I know, I’m going to withdraw Ledyba before they reach her. Should we Rise and Fall?”

Blue remembers the tactics they practiced on the roof of Viridian and plays it out in his head. “Too slow. Vanishing Act?”

“Need more support. Supersonic! How about a Pinwheel?”

“Alright, on three. Two-Watergun! One!”

“Crimson, defend!”

Crimson breaks away and flies over to hover above her as Blue grabs Maturin off the ground and runs behind them. Part of his skin touches Maturin’s and immediately feels dry and stiff as the moisture is sucked out of it. Blue puts Maturin back down and ignores the ache. “Ready!”

“Crimson, Gust!”

“Zephyr, break!”

Crimson begins flapping hard in the direction of the swarm as Zephyr dips a wing and soars away. The zubat trying to chase both begin to get buffeted by the wind, struggling to make headway against it.

Some begin to break away and approach from above or the sides. Blue points to each in turn with his commands. “Maturin, Water Gun! Zephyr, Quick Attack!” Spurts of water continue to knock zubat out of the air, and Zephyr is a tan blur as he zips back and forth to harry them from behind. The zubat try to fly around the column of wind, but Leaf pivots Crimson with them, wheeling the wild pokemon in a slow arc.

One by one zubat begin to drop to the ground and fail to rise, or turn to flee. But soon Crimson tires, and Maturin runs out of water. As soon as the wind dies down, the remaining four zubat close the gap in a blink.

“Maturin, Return! Go, Kemuri!”

“Ledyba, Supersonic! Crimson, Wing Att-Crimson return!”

Leaf’s beam hits her pokemon as it screeches in pain, cutting the sound off as it vanishes in a red glow. Blood and feathers finish falling from where it was as the zubat wheel around in confusion, then go for Ledyba.

“Ledyba, return!”

“Kemuri, Extrasensory!”

The zubat begin to crash into each other, screeching in alarm and pain. One of them uses their own supersonic wail, causing Blue to uselessly clap his hands over his ears. Blue’s vision swims as he feels the sound in his sinuses, the pressure waxing and waning in a way that makes his head feel like a squeezed water balloon.

Blue drops to all fours and curls up into a ball as the vertigo sets in, flashing back to years of training drills in school. Their instructor stood in front of the class, speaking as they demonstrated the proper response to the audio assault they were all about to endure. The best defense against moves that cause mental confusion is to focus on what your body is doing. Maintain a physical position that’s low to the ground, and eliminates your body’s ability to hurt itself.

Sharp pain blooms as Blue’s nails scrape at his ears, and he tucks his hands under his knees to pin them with his weight. The abrasion of the soil and pebbles against his skin grounds him as the wail goes on and on and o-

Blessed silence. No, not silence, but without the audio scalpel of their cry, everything seems so muted. Blue uncurls and pushes himself up, knees wobbling.

He expects to see the zubat all dead or captured, but two are still in the air. What felt like a minute under sonic siege was only seconds as the beam of high pitched sound was either directed elsewhere, or died with one of the zubat on the ground.

Leaf throws a pair of pokeballs that capture them, and Blue aims his at the ones still in the air. His nerves are rattled, but the battle-calm is still there, and he draws it tighter around himself to block out the stinging pain of his self-inflicted ear cuts. He tracks the zubat as they flutter in panicked circles and loops under Kemuri’s mental onslaught, one ball on each, letting his thoughts drift so that his arms move purely on reflex, tracking the two pokemon…

Ping! He throws one, sucking it out of the air. The second ball pings another lock, and he throws again just as the zubat stops flapping its wings. Its frail body plummets and bounces against the ground once before lying still.

Blue quickly unhooks another ball and captures it before letting his breath out in a rush. He turns to Kemuri, whose eyes are just beginning to return to normal as his posture slowly relaxes. “Good job, Kemuri. Guard.” He takes out a pokepuff and tosses it to his pokemon, then brings Maturin back out and lets her empty his spare water bottle before giving her a pokepuff too.

“You okay?” Leaf asks. “Your left ear is bleeding.”

Blue checks and winces as the cut behind his ear stings at his touch. “Fine. How’s Crimson?” He takes out a potion and sprays his ear.

“I’m going to wait for a pokemon center to take him back out.” She begins to pick up her new zubat and check them with her pokedex, face growing longer after each. “Both gone. Yours?”

Leaf’s voice is flat, and Blue gives her a searching look. He’s about to ask if she’s okay, but holds his tongue. Maybe she’s wearing her own cloak. Blue checks the two zubat he caught. “One’s okay.” He releases the dead one, then goes to get the pokeball that missed.

Around them, the war for the mountainside continues unabated. A few dozen figures hold the line against the paras and parasect in the distance, while random wild pokemon are fought and taken down by the rest of the trainers spread out around the dig site. Zephyr comes down to land on Blue’s shoulder, and his talons bite into the undermesh of his shirt. Blue stifles a cry and resists the urge to chase his pokemon off. Zephyr is quivering with exhaustion, and Blue strokes him instead. “Forgot about the great job you did up there, boy,” he mutters as he picks up the pokeball and tucks it away, then gives his pidgey some berries and a pokepuff. “You’ll be a new terror in the sky when you’re all grown up.”

After one last look at the main battlefield, Blue returns to Leaf and Kemuri. “Zephyr’s tired. Think we’ll-”

Click, clickclick, click!

Blue and Leaf blink. “What was-”

Thud, thud, thudthudthudrrrrrrrrrrrrr-

Blue and Leaf look around wildly for the source of the noise, then look at each other.

“The other-

-side, move!”

CRASH

A graveler bursts through the building in a hail of broken wood and glass as Leaf and Blue throw themselves away from the rolling boulder. Zephyr launches back into the air with a shriek of protest, and Blue’s other two pokemon flinch at the hail of shrapnel.

“Kemuri, Leaf Blade!” Blue yells as he scrambles to his feet. “Zephyr, back!” Zephyr aborts his dive midway, while Kemuri leaps at the graveler and slashes it across the face.

The graveler roars in pain and tries to body-slam Kemuri, who leaps backward. Blue is about to command Maturin when another loud clickclick is heard.

Blue resists the urge to turn around and look for the source of the sound: he knows better than to take his eyes off a pokemon in a battle. A moment later he’s glad he does, because he sees the graveler freeze, then throw itself onto its face, grabbing the earth with all four hands.

Blue’s battle calm crystallizes into one last insight, then shatters in a flood of icy panic. “Self-destruct!” he yells as his hands fly to his pokeballs to withdraw everyone. “Return, Maturin! Return, Kemuri!” Blue’s every heartbeat is like a timer counting down, and rather than risk wasting any more seconds trying to return Zephyr he simply starts running and yells “Zephyr, back!”

Leaf has already taken off for the opposite side of the ruined building, and skids to a stop before diving behind it. Blue wants to yell for her to keep running, but it may be their only chance. Not gonna make it, he thinks with another spurt of panic, and runs faster. Shit shit shit-

Blue hears Leaf yell “Hey, get down!” and wonders if she’s talking to him before he reaches the end of the building and sees a paleontologist with a heavy rucksack standing there with a nonplussed look on his face. A distant part of Blue recognizes him as the one that was giving Red and him the evil eye earlier.

And then a giant, hot hand presses its palm against his back and shoves just as a massive BOOM leaves his ears ringing for the second time in five minutes.

Blue lies in a crumpled heap until the world stops spinning and he can finish testing for broken bones. His elbow feels like it shattered when he rolled into a rock, but he can move it, and he smacked his head against the ground pretty bad, but he doesn’t feel nauseous or disoriented.

I should be dead. What was that, 200 feet at most?

He realizes he can vaguely hear something through the ringing that might be Leaf calling his name, and shifts around until he can see her relieved face looking down at him.

“Leaf,” he mutters. “Ylright?”

She sticks a thumb up, then starts spraying potion liberally over his head and neck and shoulders. He points a finger to his elbow, where the outer part of his shirt was shredded to reveal the mesh under it. He’s glad it was there to save him from losing skin, but he almost changes his mind at the pain of Leaf rolling his sleeve down to see the damage.

His elbow looks badly bruised, but doesn’t seem to be broken. The bone might be cracked, but at the first spray of potion he feels the pain lessen, and after a few more the swelling goes down enough for him to flex his arm with minimal pain.

Zephyr lands next to him, and a wave of relief makes him dizzy. Or maybe that’s the start of a concussion. He pats his pidgey with his good arm, then returns him to his ball and stands up with Leaf’s help.

A couple uncomfortable squirts in his ears has him shaking his head and trying to get the liquid out, but the ringing has stopped enough for him to hear. “We should be dead,” is the first thing he hears.

“I know, I was thinking the same thing. That graveler must have been freshly evolved if its blast was so small.”

Blue looks at the blackened remains of the graveler’s body, and the scorch marks on the ground around it. He considers going over to see if it’s still savable, sometimes with immediate medical attention a self-destructing pokemon can be saved, but he knows the window of opportunity would have passed while he was recovering. Blue’s surprised Leaf didn’t try to save it, but he’s glad she was worried about making sure he was alright.

“Hey, where’s that other guy?”

“He’s inside.” She jerks a thumb at the long, narrow building, which has a huge section torn out of the side. “Said he’s going to check on the fossils.” Blue’s frowning at the visible destruction. “Something wrong?”

“Sorry, yeah, just… was he standing there when you got here?”

Leaf stares at him, then blinks as it registers. “Yeah. He… I wonder why he didn’t yell a warning about the graveler.”

“Didn’t even have a pokemon out, right?”

“No… Blue, those clicks.”

He remembers. Right before they heard the graveler start running for its rollout, then again before the Self-Destruct. “You don’t think…”

He sees his mounting unease reflected in her gaze, and they begin moving toward the building together. “There must be a reasonable explanation,” Leaf says, and Blue notices that she’s whispering now.

Blue unclips a ball, heart pounding. What they’re thinking is crazy, but… better safe than sorry. “Go, Maturin.” He picks his pokemon up after she appears, and steps up into the broken remains of the building. Leaf follows him, hands moving over her right ear.

The inside of the building is a mess of wood and glass and paper. They step over a crushed table and around a cabinet torn partway off the wall to walk toward the opposite end of the rectangular building.

What looks like a storage room is open, and the paleontologist is standing in front of a series of labeled drawers with the rucksack he was wearing at his feet. The one near the middle is open, with rows of grey Container balls nestled in slots documenting where and when they were found.

Most of the slots are empty. The bag looks to be about halfway full.

The paleontologist turns to them as they approach, two more Containers in his hand. He bends and places them in the bag, then securely closes it.

“What are you doing?” Blue asks, throat dry.

“Moving these. It’s not safe here anymore, so I’ve been going around to get these off site.”

“You said you were just going to check on them,” Leaf says, stepping up beside Blue.

“Change of plans. Just got the orders.” His hands never stop moving, and when he finishes tying the bag he slings it over his shoulder. Blue can’t help but stare at the still-open cabinet, with half of its Containers still sitting it, something’s wrong, something’s wrong-

“Stop,” Leaf says, and Blue’s attention snaps to the man’s hand as he unclips a ball from his waist and braces his arm, paying her no mind.

“Go, Abra.”

The squat tan psychic pokemon appears on the floor, sitting quietly with its eyes closed, and Blue is suddenly very afraid and very glad that he’s Dark. “Stop, whatever you’re doing, we need to make sure-”

“Abra, Teleport,” the man says as he reaches forward to put a hand on his pokemon, and with a surge of adrenaline Blue yells “Maturin, Water Gun!” His pokemon, who might normally hesitate to shoot in the direction of a human, focuses on the abra and spits a sharp stream of water out.

The trainer flinches, for just a moment, and in that moment there’s a pop as the abra vanishes, the trainer’s hand an inch away. The water hits the floor and digs a shallow groove in it, and the three are left staring at each other for the space of a heartbeat.

I just ordered my pokemon to attack his outside of a challenge, he was standing right there he might have been hit I could be charged as a Renegade-

“Go, sandslash,” the man says, and suddenly there’s a squat, spiny pokemon standing between them. Blue stares at it, still trying to process what’s happening battle calm where’s my battle calm when the paleontologist says “Slash,” voice tight and angry, face a mask.

Slash. Not Scratch, the generic command for a claw attack, generally safe for trainer battles. Slash, the command that specifies lethal intent, for pokemon specifically trained to recognize and aim for vital organs in their opponent.

And the sandslash moves toward them.

Blue scrambles back, dropping Maturin and opening his mouth to yell a command to her, while Leaf presses something to her left ear and turns around, right hand pointing a pokeball and activating it manually, arm snapping up.

He has a moment to wonder why she’s summoning it behind her, then yells “Withdraw!” as the sandslash claws Maturin across the chest, too quick for her to react. Then Leaf says “Sing!” and Blue snaps his hands up to cover his ears even knowing he’s too la-


Fire and fungi. Birds and bugs. Poison and paras. Simple equations with obvious outcomes, if the variables are anywhere near even. A single arcanine could scorch dozens of paras to ash. A single pidgeot could tear a field of them to pieces with a miniature cyclone. A single muk could bury waves of them in poison.

But no pokemon is immune to fatigue, and all the type advantage in the world won’t stop sheer, overwhelming numbers.

“Ember! Ember! Ember!”

The fire flicks out, onetwothree, and a trio of paras crackle and burn. Behind them another six advance, shooting out yellow and green and blue spores that get swept back by the wings of Ryback’s fearow. It dives a second later, piercing and shredding the dome of a parasect before flying up in a corkscrew to shed the mushroom and insect gore covering its feathers.

Red can’t think of how long they’ve been fighting anymore, or how much longer until the Rangers come. His entire world is the next attack, and then the next, and the next. The radio keeps squawking orders and warnings and calls for help, but Red barely pays attention to it anymore. He feels like he’s in a cartoon, trying to plug a wall that keeps sprouting new leaks.

Red’s nidoran is already exhausted, and his poisonous spurs take out another handful of the paras before he accumulates too many injuries for Red to heal with quick sprays of potion. Spinarak takes his place and holds up better, until a parasect rushes forward and claws off two of its forelegs. Red withdraws it before the giant claws can close around its head, and an ember by Charmander swiftly engulfs the parasect. Its flaming corpse does little to deter the red and orange swarm.

The red and orange swarm that extends for two hundred meters in front of them.

Could use a beedrill about now, wouldn’t you say?

Shut up, Past Red.

Leaf’s beedrill might help take out another dozen or two, but the real battle will be decided by their special attackers. No matter how good a physical fighter is one-on-one, certain special attacks can take out whole swathes of the foe again and again from a safe distance. Between choosing his targets, Red catches glimpses of them at work. A weezing floats above the swarm to his left, blanketing the bugs below in clouds of noxious gas. To the right, a magmar glows red-hot and wades through the paras in a shimmering cloud of superheated air that crisps anything near it.

Red and Ryback are holding the line between the two, along with a geologist named Pira. Her only supereffective pokemon is a numel who spits small showers of embers out of its hump every few seconds to help cover them. Red feels a burst of relief every time the fiery rain comes down to buy him and Charmander some more breathing room.

Red doesn’t see the weezing go down or get withdrawn, but he begins to notice the surge in enemies a few seconds before Ryback calls out “Big group coming on the left!”

Red and Pira pivot and redirect their pokemon to get ready for the twenty or so paras and three parasect that trundle toward them. Too many. Way too many. He shoves down his anxiety and tries to think of solutions. He already tried using his pokedex to imitate paras’ predators, but the fungi are driving them beyond reasonable fears, which is why they march to their fiery, poisonous doom by the dozens. We need a force amplifier.

“I’m going to concentrate on the parasect,” Ryback says. “We need something-Drill Peck!-we need something else to help hold the paras off!”

Pira hesitates. “I’ve got a lickitung, but I’d rather not use him for fodder unless we don’t have another choice.”

Dammit. Guess it’s time. “I’ve got a spearow, but it’s freshly caught. Ember! I don’t know how much it will help-”

“We need whatever we can get!”

He unclips its ball. “Go, Spearow!”

The bird appears and screeches at the sight of all the swiftly approaching paras, though whether in fear or hunger Red doesn’t know. “Peck!”

Spearow dives at the paras along the side of the horde, sharp beak dismembering pincers and legs before it flutters back out of their reach. Red sees Ryback’s fearow divebomb two of the parasect and make short work of them, but the third holds it off for a bit with a cloud of stunspores that it has to circle around to blow away.

Charmander and the numel burn another handful of paras in the next few seconds, but the rest just keep coming. “Slow retreat,” Ryback says. “Keep falling back until this bunch is done.”

Red begins stepping backward, and calls Charmander to follow him as he tries to keep an eye on his spearow at the same time. The bird is having trouble scoring any killing blows now that the paras know it’s around, and Red sees it get engulfed in a cloud of poison powder while it’s distracted.

“Spearow, Quick Attack!” Red begins counting in his head. The paras’s poison would kill a pokemon like spearow after about sixty seconds. He wants to withdraw it, but almost twenty paras are still coming, and the fearow has only just managed to take down the last parasect. 4, 5, 6…

“Back, farther,” Ryback says, and Red mirrors his backward movements.

“Charmander, back!” The fire lizard is breathing hard, and Red can see the flame on his tail burning low. 11, 12… He won’t last much longer… 13… force amplifier, something to make a bigger flame… 15, 16…

Another burst of fire from Pira’s numel brings down a second handful, but the paras keep coming, and now they’re starting to spread to the sides, outside of their reach. “We’re breaking formation,” Ryback says. 21, 22, 23. “We need to hold them here.” He quickly commands his fearow to pick off the bugs that are trying to get past them, leaving charmander, spearow and numel with the rest. 32, 33, 34-

“Shit!” Red says as another cloud of spores is ejected toward them, and jumps to the side. “Ember!” He lost count, and starts again at 40 just in case. We have nothing to burn, nothing to use to spread fire… In his distraction, he sees that Spearow has abandoned the hit and run maneuvers to try and peck the paras again, and feels a surge of fear. “Spearow, Quick Att-”

He sees it happen, a burst of blue spores that engulfs the bird’s head. “No!” Red yells, ball extended. “Spearow return!”

The beam misses as his pokemon falls into the swarm of paras, who quickly converge on the bird.

No, no! “Ember, Charmander, Ember, Ember!”

The globs of fire bring down another two paras, but there are a dozen left, and Red watches in horror as blood and feathers spray into the air.

Red reclips spearow’s ball, chest burning as he fights back the urge to run forward and rescue his pokemon. It’s not fair, he was just going to withdraw him, he-

“They’re still coming!” Ryback says as the paras get within ten feet. “If you’ve got anything else, we need them now!”

“Go, Orval!” Pira says, and her lickitung appears. “Supersonic!” The parasect at the front become confused by the beam of shrill noise, allowing Ryback’s fearow to swoop down and rake them to pieces in a series of rapid dives. “Focus on defensive fighting, we just need to buy time!”

“Go, Rattata,” Red says, biting back bitter words. If you brought your lickitung out earlier my pokemon might still be alive. “Quick Attack!”

The paras keep driving themselves forward over the bodies of their fallen kindred, driven by the mushrooms’ imperative to spread their spores. With the five pokemon combined, however, they die as quickly as they scuttle forward, bursts of flame and wind providing cover for Red’s rattata to distract the confused front lines. Red goes from tired to exhausted, but still the battle goes on until his voice grows hoarse and his fingers fumble with potion bottles.

“Ranger ETA is five minutes!” the radio says. “Hold the line as best you can!”

“Shit,” Red croaks. “It’s only been ten minutes?”

“I know,” Ryback pants. “Drill Peck! Feels like hours.”

“Should I call my friends?”

“Not yet. They have their own job to do.”

Red opens his mouth to argue, then closes it. There’s no time, and Ryback is the senior trainer around. “Pira, my rattata needs a potion.”

“Okay, do it. Orval, Slam!” The lickitung waddles forward and smashes its tail down on one of the paras. “Defense Curl!”

“Rattata, back!” Red kneels down as his pokemon returns to him, trembling with adrenaline and pain. Red’s chest hurts as he sprays her wounds. “You’re doing great,” Red whispers as he strokes her head. She nuzzles Red’s fingers with her whiskers, causing his throat to tighten. “Just k-keep moving girl, it’ll be over soon…” He wants to give her more time to rest, doesn’t want to send her back at all, but the lickitung is already being overwhelmed. “Go! Quick Attack!”

Red gets to his feet and hangs the potion bottle on his belt before realizing it’s empty and tossing it aside. His eyes roam the swarm of paras as he digs a new one out of his bag, new fear settling into him as he sees the scuttling mass of insects seems untouched, despite what must be hundreds of charred and broken bodies they trample underfoot.

“We’re not going to be able to hold out another five minutes,” Pira says, echoing Red’s thoughts. “Orval, Supersonic! Even if we do, there’s no guarantee the Rangers will get to our area in time.”

“We can’t spare anyone to go for help,” Ryback says. “If we have to run, we run, but not while our pokemon can still fight. Shara, Drill Peck!”

Red tries to think of his remaining resources. He can use a smokescreen from charmander, but it won’t hamper the paras, who are used to travelling in the pitch black of the mountain. His pichu’s electricity would barely hurt them, and his caterpie could maybe trip up one of them. And… that’s it. If there’s something else he could be doing, he’s too distracted to think of it.

If the Rangers don’t arrive soon, we’re screwed.

“Charmander, Ember! Rattata, Quick Attack!”

The minutes drag on, Charmander’s embers becoming smaller and smaller, Rattata moving slower with every strike. Soon a paras survives an ember, and Red notices that Charmander’s tailflame is a slender flicker. “I have to withdraw my charmander,” Red says, coughing at the dryness in his throat. “He’s spent.”

“Do you have any ether?” Pira asks.

“No.”

“Here.” She hands him a bottle, and Red drops to his knees, spraying the rare stimulant into Charmander’s mouth. A few seconds later the lizard’s eyes widen, and his tailflame flares back to near full size.

He hands it back. “Thanks.”

“Should buy us another few minutes.” She waits for her numel to send another salvo of fiery death into the paras’ ranks before she gives it some.

“Charmander, Ember! Ryback, even with the ether our pokemon are fading fast. I’m going to call my friends.”

Ryback looks torn. “Alright, let them kn-”

“Rangers on site, approaching east side! Everyone begin rotating to help those on the west!

“Nevermind!” Ryback says with a grin. “We’re on the home stretch. Just a little longer!”

Red still feels like they can use the help, but he has to admit that knowing the cavalry’s on the way is invigorating. A few seconds later he can see the effect of the new arrivals as more trainers begin to hem in the paras at their sides. Soon they can begin advancing, and do so, pushing the waves of paras forward. A rapidash and venomoth spew flamethrowers and sludge bombs to their left, while on their right a quilava sends out exploding bursts of fire into the swarm and a dodrio dashes back and forth along the front lines, each head skewering a different bug every second.

Red’s fear and anxiety slowly fades as they push forward and reclaim lost ground, though the smell and feel of all the dead paras that crunch underfoot is nauseating. Red tries to avoid them at first, but there’s just too many, and he still has to stay focused on the fight, and instead only watches for patches of poison to step around or fungus to burn.

Between Ryback’s fearow taking out any parasect that trundle too close and Charmander and the numel’s flames crisping the front lines, Red’s rattata is free to strike in quick attacks that get it out of the enemy’s reach before they can retaliate. Red watches his pokemon harry and harass the swarm with pride, until one of the bodies they pass by rears up and stabs her through the torso with both claws.

Red whips her ball up and tries to get a lock on his rattata as she thrashes weakly against her assailant. He watches with his heart in his throat as her movements slow, and the dying paras finally crawls off her. “Rattata, return!” Red cries out, withdrawing her into her ball. “Charmander, Ember!” Please, it was only a few seconds, please, be okay, Red thinks as he scrambles for his pokedex for a moment, then stops and reclips her ball to his belt. He forces himself to focus on the battle. It won’t change if I know now or five minutes from now. Focus. Worry fills Red’s stomach with acid, but he’ll be damned if he lets his distraction cost him another pokemon.

The circle of trainers around the swarm grows tighter, and they advance farther toward the collapsed dig site. Paras and parasect are still pouring out of it, until the whole battlefield is stunned by an echoing roar.

A charizard dips out of the sky, its scales gleaming in the sun like living flames. Its wings beat the air in claps of thunder before it soars down over the epicenter and bathes it in fire. Again and again the trainer on its back strafes the battlefield, pouring hot death into the hole the paras are crawling out of until the fungus in the tunnel catches fire. Soon after a pillar of black smoke begins to rise, and the waves of bugs crawling out of the hole abruptly stops. Red watches in awe, and Charmander makes a low crooning noise as it tracks the charizard’s flight with wide eyes.

The battle is quickly over after that, and Red finds a relatively clean boulder to sit on as the dozens of site workers and nearby trainers who came to help coordinate clean up and triage. Ryback finds him there, staring down at Rattata’s ball, pokedex sitting on the rock beside him.

“Did it make it?”

Red shakes his head, not looking up. The first pokemon he ever caught, dead because a stupid bug was driven into a suicidal frenzy by a fungal parasite.

“I’m sorry. I wanted to say, you did good. We couldn’t have done it without you and your pokemon.”

“Thanks,” Red whispers, and clears his throat. He wants to take his mask off, but the stench would be even worse then.

“Want to head back to your friends, make sure they’re alright? Or do you need a minute?”

Red shakes his head again and hops off the boulder as he pockets his dex and reclips Rattata’s ball. He’ll release and bury her later. He wishes he could do the same for his spearow, but he doesn’t have the stomach to search for his remains, if there even are any.

As they walk, Red lets memories take him. Training with his rattata, scouring Viridian for wild pokemon with her, finding his spinarak and catching it, playing with her and Charmander in the park at Pewter. Why had he never named her? Even now, Red can’t think of one. It doesn’t feel right, that she’ll forever just be “Rattata” to him.

He thinks of the nest she was part of when he caught her, how she might have had children. Was it worth catching her, bringing her north all this way, only to die on a mountain far from her home? Red looks around at the blighted mountainside, and spots a pair of trainers sitting beside a third who’s lying still, eyes closed. Red takes his hat off and runs his fingers through his sweaty hair, enjoying the breeze and happy to be alive.


The first thing Leaf does after Wigglytuff starts singing is take out a potion and spray Maturin’s chest, where the sandslash’s claws scored deep wounds. Then she takes another pair of plugs out and stuffs them in Blue’s ears. Her heart races as she waits for him to wake up, gaze never leaving the sandslash or its master. The thief.

No, not just a thief. He attacked them. He actually sent his pokemon to attack them.

Renegade.

The thought chills her to her bone. Encountering Renegades, that’s the stuff trainers do in comics and movies. Is he insane? He must be, to doom himself over some fossils, no matter how valuable.

Of course, Blue’s squirtle did attack his abra first… but that was clearly a warning shot. Wasn’t it? Oh gods, did they attack an innocent trainer unprovoked? Are they going to get branded?

But no, he used a graveler to tear up the building, maybe even knew they were on the other side. He summoned a sandslash to attack them. He was prepared, could have had it tear up the rest of the house, passed the whole thing off as natural.

Leaf walks over to her wigglytuff and strokes its lush fur to calm herself a little. The feel of it is truly incredible, like trailing her fingers through a warm cloud, and her nerves are soothed almost immediately. Or maybe it’s the song, warped and heavily muted, but still audible at this range, and lovely. She doesn’t know how loud it has to be to knock her out, but she’s glad she tested whether the plugs would work up close.

Blue stirs in her peripheral, and she moves back over to him just as he jerks awake, eyes wide. It takes a moment for his face to clear, and when it does his expression hardens. He gets to his feet and checks Maturin, then flashes her a thumbs up and withdraws his pokemon. He takes his phone out and begins typing into it, and it takes Leaf a moment to realize that he’s marking their location with a Renegade flag. It might not even be noticed right away, with the Tier 1 still ongoing, but-

Leaf’s eyes widen. She forgot about that. How far is Wigglytuff’s song going? It’s probably not nearly as far since they’re most of the way inside a building, but it still could be endangering people.

She has to end it.

Leaf goes over to the Renegade and carefully undoes his belt, then empties his pockets. She carries all his things over to the cabinet and puts them on it, then returns his sandslash to its ball. What else can she do to secure him? Once caught, pokemon are intrinsically taught not to attack people through the very first, most basic training programs, so she can’t order her bulbasaur to wrap him in vines or put him to sleep. She can have him emit some sleep powder and then just sprinkle some into the man’s nose, but they’re much less predictable than the continued effect of Wigglytuff’s singing, unless she’s willing to just keep scooping more over him, which might be dangerous.

Leaf nearly leaps out of her skin when Blue taps her shoulder, and he puts his palms up in apology. She waves it off, cheeks flushed as she takes a deep breath. Blue shows her his phone, which has the message “What are you doing?” typed on its notepad app.

She brings up her own. “Gotta stop the song, others at risk. Wanna secure him first.”

Blue scratches his neck, then types, “Any of these doors got locks?”

They check, and only the outhouse style bathroom does. “Flimsy,” Blue types with a frown.

“Maybe stick them both in there and close the door? Limit sound exposure outside.”

Blue nods, and they work together to drag and shove the Renegade’s body into the bathroom. Leaf can see it would be a tight fit to get Wigglytuff into it too, but thankfully the pokemon’s body is extremely malleable, and she fits comfortably in the remaining space. She continues to cheerfully sing as Leaf strokes her head, then closes the door.

The sound drops to nearly nothing. “I’ll test,” Blue says, and unplugs an ear before she can stop him. His eyes promptly roll up in his head, and she catches him before he can crumple to the ground.

Leaf sighs and lowers him the rest of the way, then finds the plug he dropped and puts it back in.

When he wakes up, she leads him all the way outside, where he tries again with some trepidation. He soon relaxes, and flashes a thumbs up.

Leaf unplugs too, first one ear, then the next. She can still hear the song, but about as muted as it was while she was standing next to it with the plugs. “Okay, do a quick search to make sure no one around us got knocked out while in a fight. I’ll stay and make sure she keeps singing.”

“Got it.”

Leaf leans against an undamaged part of the building and looks out over the mountainside. Her pulse is finally returning to something approaching normal, but she still feels jittery. Until someone else shows up and the Renegade is physically confined, it feels like anything can happen, and since things are currently stable, “anything” would likely be bad. She keeps replugging her ears and poking her head into the building to make sure the bathroom door is closed. After the third time she checks she goes inside and brings all his stuff out with her.

When she unplugs her ears she hears a roar, and turns to see a charizard flying over the battlefield. It’s awe inspiring enough to make her forget what’s going on for a moment, but by the time it finishes its fiery strafing runs she realizes that Blue’s still not around.

She texts him and waits, nerves ratcheting back up again. She goes through the building to the other side to check if he’s in that direction when her phone buzzes, and she sees that he’s on his way back “with help.”

Relief makes her legs buckle, and she sits down for a minute before reminding herself that this would be the exact time in a movie for the villain to escape, and maybe kill his jailer on the way. She puts her earplugs back in and stays in the building until Blue arrives with two ACE trainers and one of the paleontologists, who wait outside.

“They know what’s up,” Blue says through text. “Return her and they’ll hold him until a Ranger arrives.”

“They have rope?”

“Better.”

Leaf is curious, but she complies and waits outside while they carry the man out. It becomes clear once an ACE brings out a Barrierd (or Mr. Mime, as it’s called in Unova). The rare psychic pokemon creates a telekinetic barrier around the man, trapping him once he wakes. As she’s asked to corroborate Blue’s story, Red and Ryback arrive, and they hear the whole thing. Leaf feels herself getting anxious again as Blue recounts the part where he fired on the abra first. Who are they going to believe, two kids or one of their coworkers?

Ryback and the other paleontologist look stunned. “I just can’t believe Yuuta would do something like that. He’s been working with us for over a year…”

Red looks tired, maybe worse than tired, but his voice is steady when he says, “That’s what makes Renegades so scary, isn’t it? They don’t walk around with a big red R on their shirt. Anyone could be one.”

“Not making a great case for us,” Blue growls, elbowing him.

“Yuuta wasn’t the most friendly sort,” Ryback admits. “He was always helpful, but never got close to anyone.”

“Careful,” Red says. “It’s been shown in studies that it’s easier to remember negative things about someone and forget positives when primed to think badly of them.”

“Whose side are you on?” Blue demands.

Red opens his mouth, then closes it and rubs his eyes. “Sorry, I was just…”

“It’s okay,” ACE Trainer Nora says. “We’re pretty sure the grandchildren of Professor Oak and Juniper didn’t suddenly decide to become Renegades a few weeks into their journeys.”

“Just in case though, you’re both prepared to make a deposition to the Rangers?” asks Jabari, the other ACE. Leaf gets the impression the question is rhetorical.

They both nod. “I know this is just our word against his, but we can at least prove that he tried to steal the fossils,” Leaf says.

“If you can find anywhere an abra teleported into without its trainer, that’ll corroborate that part,” Red suggests.

“And just test his pokemon,” Blue says. “If he has any that have been trained to attack people-”

“Yes, I’m sure the Rangers have seen all the same crime shows,” Nora says with a smile.

“What was his job here?” Leaf asks.

“He was a geologist,” Ryback says. “He… actually, he…”

“What is it?”

“Let me guess,” Red says. “He ran the equipment that monitored seismic activity.”

Ryback nods with a sigh. “I thought it was strange that we didn’t get any warnings about pokemon tunneling under us. I suppose he was ready for something like this.”

Or worse… what if he planned for it? Leaf tries to dismiss the thought: who could plan for a rampage? They would have to set it off themselves, or work with others to do so. The thought is insane… but she keeps thinking of the man’s face, his calm, his preparation.

“Well, everyone get comfortable while we wait for the Rangers,” Paul says as he leans against the building with his arms crossed. “Personally, I’m hoping Mr. Mori wakes up before they get here. I’d like to ask him a few questions myself.”


…as always, we must ask ourselves what the point of our criminal justice system is, and what we wish to optimize it for. Safety? Reform? Punishment? These three values can often result in very different outcomes.

Which is why the case of how the state treats Renegades so often inflames public policy debates. It is taken for granted that, while many crimes are heinous beyond words, for this crime, and this crime only, it is justified that we brand a man or woman irredeemable, and with all of society’s collective might, from Gym Leaders to police to Rangers, we hound them to their dying breath, as we would a rogue pokemon. Indeed, it is often argued that once committed to such acts, the Renegade ceases to be human, and thus is no longer treated as such.

In a world where our very survival as a species depends on us capturing and training pokemon not to hurt humans, but to defend them, we hold the act of training them to kill us so profane that anyone who would violate that cornerstone of human society is utterly ejected from it. So hated is the Renegade, so feared by their region, so dangerous in the common mind, that we have accepted the thought of using their own crimes against them. We empower Hunters to mimic their methodology, to commit their same profanity, in order to keep us safe.

And perhaps that’s as it should be. By every account, Renegades are a vicious breed, driven to unconscionable extremes that set them apart from society’s core values, often simply to enrich themselves. Or, in perhaps the most sympathetic of examples, driven so mad with grief or rage that they throw their lives away to get revenge for a loved one murdered by more mundane means. In any situation, they are regarded as people who are beyond reason.

But consider this: in the Time of Conflict, there was once a wealthy province where petty crime ran rampant. There was a great divide between the rich and poor, and many hungry and homeless citizens would choose to steal a loaf of bread rather than starve. The shogun decreed that a policy of leniency had bred thieves, and changed the punishment for thievery from imprisonment to death.

The crime of thievery did indeed go down by some measure… but the crimes of assault and murder rose to far outstrip what was lost. For many thieves that spied a witness or faced a lawman, it was often a simple choice to fight to their last breath, to kill, when they knew the only other outcome was to be killed themselves.

-Excerpt from the blog Rationally Thinking, by Giovanni Sakaki, Sept 4th, 1505.

Scaling Your Campaign, Tier 3

Advice Level: Beginner to Advanced Gamers

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Tier 3: Worldwide Story

The previous post explored the unique themes a Tier 2 story can have, and the opportunities and challenges it can present: Tier 2 adds a wider scope to player choices and interactions in regards to consequences, potential allies, and symptomatic effects.  The third tier broadens all those themes, but also adds the potential of its own unique element: Change, with a capital C.

A Tier 3 story involves a threat or challenge not just to the players, not just to the town or city or country around them, but to their whole world. Keep in http://doug-johnson.squarespace.com/storage/when-change-is-hard.jpg?__SQUARESPACE_CACHEVERSION=1314973950229mind that this is a flexible concept: in a science-fiction adventure, a Tier 2 story may well be global, as the planet is treated as the “locality,” while a Tier 3 story would be interplanetary, or even intergalactic, to encompass that everything is affected. A Tier 3 story means that everything the characters once knew to be normal or thought were eternal are now up in the air.  The old rules no longer apply, and nothing will ever be the same again.

Almost all stories are about change in some way or the other, especially regarding the protagonists. But when we speak about change being central to a Tier 3 story, we aren’t just talking about the scale or breadth of the change, as some result of the story’s conclusion.  What’s unique to Tier 3 are changes that occur all around the players, changes that are an integral part of the story itself, moment to moment.  It’s Change as an ambiance.

The best Tier 3 stories are absolutely saturated with a mood of imminent and drastic Change.  Whether it’s a direct result of the major conflict or a symptom, it should be evident in every chapter.  Fear, uncertainty, and risk should be reflected in setting and NPCs… as well as, ultimately, hope.  In a classic fantasy saga, perhaps races that have historically done nothing but fight and hate each other are beginning to set aside ancient grudges for the first time ever, in order to fight the rising primordial evil. In a cyber-steam-punk tale, perhaps the barriers between the classes are starting to break down as some mechanical rebellion forces everyone to revert to pre-industrialized technologies and skills.  In a modern supernatural  story, perhaps some Big Bad is taking actions so huge that the mortal/mundane world can’t help but notice, and thus the masquerade dividing them and the various supernatural communities is crumbling: for the first time since the Age of Enlightenment, humanity as a whole is becoming truly aware of the “monsters” that have lived hidden among them all this time.

These changes may be ultimately good, bad, or both.  But a conflict on a scale and magnitude so big that it metaphorically shatters the planet should not leave everything as it was before, once all the pieces have been picked up.  When the hobbits return home, they should find the Shire, if not burning, at least militarized and vigilant against a world that trembled on the brink of eternal darkness.

And whether these changes are desirable or not is ample fuel for side plots in the story.  Now that the main plot is so massive, smaller story elements have plenty of room to grow and challenge the Player Characters.  Xenophobic elements of each race that refuse to ally with the others, despite the threat.  Technophiles that believe the mechanical rebellion is the natural course of things, and side against humanity.    Members of the supernatural community that believe they will be wiped out or worse without the masquerade to protect them, and fight violently to remain a secret.

These are all side challenges to the main struggle that add depth and richness to the more linear “the world is in trouble, save it” narrative that is far too easy to fall into in a Tier 3 story.  And these challenges need not be exclusively NPC driven: if any of the players feel their characters end up on different sides of whether the changes are positive or negative, they should feel free to express that.  If it starts to really split the group’s goals and loyalties, you’ve got a really interesting campaign on your hands…

(Note: As mentioned in Tier 1, the scope of the danger is not ultimately what determines the Tier of a story.  It’s perfectly possible to write a story in which the threats to the locality or planet are completely hidden from the rest of the world, and there are no consequences or collateral damage to initiate changes.  These are essentially dressed up Tier 1 stories, where the focus is still entirely on the heroes, and the only changes are personal ones. Ultimately, a story’s Tier is about range of elements and scope that can occur in it, not how big the stakes are.)

Transitioning to a Tier 3 Story:

Michael’s story is advancing fairly well.  First he presented a personal challenge to his players, beginning the story at Tier 1 and letting them get used to their characters and learn about them on an intimately scaled story.  Then, as the Cassy and Don looked into their son Jacob’s death and Jeff and Mary investigated his sister Lara’ s disappearance, they learned that both events are not just connected, but similar to tragedies that dozens of other families have experienced, transitioning the story to Tier 2. 

With some detective work and the police department’s resources, along with a little breaking-and-entering, they interrogate a scientist from Lara’s biotech company.  They gain access to her computer and files, and learn that the biotech company Lara worked for has perfected a method of cloning that allows the clone to grow very quickly in a controlled environment, but quickly sicken and die outside it.

The symptoms of the clones’ breakdown matched the mysterious “illness” Jacob had died from.  Cassy and Don are suddenly hopeful that their real son is in fact alive, though they fear what purpose he was abducted for.   The group assumes that Lara must have discovered Jacob was being targeted, and set out to warn Cassy and Don.  Jeff is afraid that his sister was killed to prevent her from doing so.

The heroes confer and decide to take what they know public.  After a coordinated effort and planning, they release the information simultaneously with the other parents through the network Cassy and Don set up of the other affected parents, along with Jeff’s news sources.  The information spreads too quickly  and too widely to be suppressed, and soon more and more voices are heard, not just in the United States, but around the world, demanding an explanation.  Theories begin to fly as to what the true purpose of these abductions and clones are, and who’s ultimately behind them.

Soon whistle-blowers begin coming out, and the truth is made known:

A gene has been identified that allows humans, with some tweaking, to develop “super powered” abilities.  The government has been identifying children with the gene and has abducted and replaced them in order to study, develop, and train the use of their abilities in defense of the earth against extraterrestrial beings that are hidden among us.

The story has now entered Tier 3.

So, adding in flash clones, superpowers, and aliens might drastically shift things in too many directions at once for some players. Any one of those revelations would be enough to change the world on their own. What happens next can go a dozen different ways.

But without a doubt, the events the heroes have set in motion will have worldwide implications, and consequences.  Panic and riots.  Distrust and paranoia.  The knowledge that we’re not alone in the universe.  The reality of superhumans. The moral applications of clones. Questions of ends justifying the means.

Of course, if Michael had wanted, he could have simply started the campaign at Tier 3.  Told the players that it was a sci-fi story and covered everything setting up the plot in narration. But think of what the players would have missed out on.

Even if the players now want or need to take the roles of superpowered abductees, for example, he could still have the players switch characters at this point in the story… but the unique perspective of bringing about and revealing the monumental change, from the ground level, would have been lost, and the consequences of the reveal on society would have felt much less personal and impacting.

Each tier offers unique perspectives and focuses the lens of those experiencing it on different aspects of a truly great campaign.  While not all stories need go through each tier, the next time you develop a campaign, challenge yourself to try putting it through at least two of them, and think about the transition points, and how you can best convey the changes in the experience to your players before and after them.

Scaling Your Campaign, Tier 2

Advice Level: Beginner to Advanced Gamers

The previous post discussed how to start a wide ranging campaign at Tier 1, at a scale that’s small but personal, and the value that adds to the story and character development.  Eventually the stakes go up, and the story evolves to Tier 2.

Tier 2: Local Story

A Tier 2 story is about events that affect a locality.  They’re not quite big enough to be visible from space, but they’re not just about the protagonists anymore.  Instead the Player Characters are aware that the stakes they’re fighting for are more wide-reaching, and will affect their community/town, city, or region… and more importantly, those around them know it too.

This brings about a number of changes in scope of situations the characters face.  For one thing, the threats and challenges should visibly affect other people around them.  This is an important thing for the storyteller to incorporate: not just remarking on the negative consequences going on, but going into details about the ways they affect the NPCs that populate the world.  A disease that’s filling hospitals to the brim and causing people to die on the streets.  A breakdown of law/order that allows for mass lootings and banditry.  Crushing taxes that cause people to riot at the marketplace and increase the amount of beggars and homeless.

These events don’t just set the mood and tone, they also introduce other potential dangers.  Simply put, the primary threat the heroes face is no longer isolated: it has symptoms that could prove just as dangerous, and the characters should absolutely not be immune to these symptoms.  In the crushing-taxes example above, imagine the heroes stopping at an inn for the night and noticing that it’s virtually empty, and what few people there are look ragged and hungry. On top of that, the innkeeper is eyeing their fine quality equipment and weapons in a wholly unnerving manner.  Perhaps they decide it’s better to camp outdoors for the night instead… and cover the tracks of where they’re going.  If not, one hopes they agree to sleep in shifts so their throats aren’t cut in their sleep.  Or perhaps they decide to give away some extra coin to help the innkeeper through these rough times, and earn some unexpected gratitude and benefit.

How they decide to react to the symptoms is an important part of character development, and helps build the sense of immersion in the events of the story. Sometimes diplomacy isn’t an option: explaining that you are trying to stop the larger problem doesn’t put food in a hungry bandit’s stomach, or stop an infected NPC from seeking aid or succor.

But that doesn’t mean the players are still alone in their journey.  Tier 2 is also the tier where allies should really begin to take a prominent role.  After all, this threat is not just to the players anymore, as it was in Tier 1, and that means they aren’t likely to be the only ones willing to challenge it.

Whether it’s a group of scientists willing to help the players understand an important issue, government agencies trying to minimize collateral damage, or another band of would-be heroes on a similar quest, there should be potential allies for the protagonists to interact with, even if they don’t always have the exact same goals.

Transitioning to a Tier 2 Story:

When last we left Michael, his players—Cassy, Don, Jeff and Mary—had met up and decided to investigate the death of Cassy and Don’s son, Jacob, and the disappearance of Jeff’s sister, Lara.  As they looked into medical research on their son’s mysterious illness and talked to some of Lara’s coworkers, they began to notice patterns that led them to conclude that someone at the company had knowledge of Jacob’s illness… before he became ill.  They suspect that Jeff’s sister knew what was happening, and this is why she’d attempted to warn Cassy and Don.

As sometimes happens, let’s say the players have some trouble putting the clues together, or miss some investigation or intelligence checks. So Michael decides to hit them in the face with a clue: three men beat and mug Jeff on his way home from work, and when he gets home he finds a note warning him to stop investigating his sister’s disappearance slipped under his door.  He and Mary believe the two are related, and begin investigating his assailants in hopes it leads them back to whoever sent him the note.  Meanwhile, Cassy and Don are finding and talking to other parents who lost children under similar circumstances.

Through their combined efforts, they begin to realize that what happened to Jacob is not isolated, and that similar cases have occurred all over the country.  The story has now entered Tier 2.

Don and Cassy form an online group of parents who lost children in the same way, and begin spreading awareness that there is something going on. When they request an autopsy of their son’s body, they’re told that a filing error has led to his body being destroyed or misplaced.  They ask around through their new network, and discover that none of the other parents have been able to have an autopsy done on their children.

Jeff and Mary track down a high positioned scientist at Lara’s company, and try to talk to her.  When she rebuffs their attempts to question her, Mary wants to bring the law in, while Jeff decides to interrogate her personally, convinced that they don’t have time to get through the lawyers and legal issues that will come up.  Against her better judgment, Mary agrees to help Jeff break into the scientist’s house.  Don and Cassy share what they know and agree to help.

With the shift to an awareness that the personal tragedies and challenges are in fact tied to a larger conspiracy, the story shifts to Tier 2.  This particular story maintains a strong focus on the protagonists, but the players recruit the assistance of others who have suffered similarly and have a similar incentive to solve the mystery.

Some of the impetus to make use of a wider range of resources than just themselves will be up to the players, especially if they are particularly adept at thinking creatively.  If they are having trouble deciding on the best course of action however, there are many new “set pieces” or events that the GM can put into motion in order to help the players learn more, and give them a chance to gain allies.

And even though it has expanded to a wider story with more difficult challenges, each character should still be given a chance to take advantage of and develop their various skills and specialties, such as in the  example with  Cassy’s medical knowledge, Don’s people skills, and Mary and Jeff’ s investigative experience.

In the final article we will focus on the unique elements of a Tier 3 story, and how transition a campaign to its endgame.

Scaling Your Campaign, Tier 1

Advice Level: Beginner to Advanced Gamers

A major step in plotting out a tabletop RPG campaign is determining its scope.  Do you want a small, intimate tale, where the plot revolves around the Player Characters’ personal lives (Tier 1)?  Are they caught up in bigger events that affect the entire city or kingdom around them (Tier 2)?  Or do their actions shake the very foundations of the world, and make an indelible mark on history (Tier 3)?

These classifications can work for more than just designing RPG campaigns, and also help structure novels or TV series. Deciding ahead of time where to start a story, and where to end it, can open up a lot of opportunities when planning it to enhance the reader’s/player’s immersion. This post will review what makes up the structure and themes of a Tier 1 story, and advice on how to craft it.

Tier 1: Personal Story

When many stories start, the player’s characters are rarely big, important people that have a lot of influence.  Whether they’re small-time adventurers or average civilians going about their daily lives, the things that matter to them are usually things that matter to only them.  Their goals are to gain riches or fame, help loved ones, survive some sudden personal threat, etc.

As such, the challenges they face in the beginning tend to be ones that rely on their investment in their personal lives.  This is where the storytelling aspect is so important in immersing players with the characters’ lives: without “anchors” to care about, it’s hard to really feel engaged in the story, rather than interacting with it only as a game.

In Tier 2 or Tier 3 stories, this engagement is often accomplished through simple, but rather bland, means: the impetus to “save the city/country/world” is an effective motivator, but it doesn’t quite tap the full potential an RPG holds.  It’s all well and good to want to save the world, but if you don’t care about your characters, and if your characters don’t care about other things besides saving the world, they can come off as somewhat flat and one-dimensional.

 

It’s far easier to really grow attached to them and get in their heads if you know them at a more intimate level in the story.  As a storyteller, choosing to start the campaign at Tier 1 helps your players get to know their characters on a small scale first, where everyone has more opportunities to see how their characters react to things, and can get a sense of their personality, desires, and flaws.

Imagine a campaign that culminates in heroes fighting a King who has been secretly using mind-mages to ensorcel people and force them to spy on and kill dissidents in his kingdom: a Tier 2 story. If the story starts with the players already knowing that, the campaign can seem very cut and dry.   But there are ways to make it hit home with the players on a personal level first, by starting it as a Tier 1 story.

Let’s say when the adventure starts, the warrior of the group is merely concerned for his brother, who uncharacteristically snuck into some politician’s house and murdered them.  Believing his brother framed despite the evidence against him, the warrior seeks the true murderer, and along the way meets the other party members who end up uncovering the King’s plot. Later on in their adventure, an assassin jumps them, and during the fight, the group’s magic user recognizes the signs of mental domination on the assassin.  Upon hearing this, the warrior hesitates, both player and character conflicted.

Because the players first learned about these mental manipulators due to the warrior’s brother being targeted by them, and perhaps eventually  imprisoned and executed due to a crime he was forced to commit against his will, there’s a dissonance between how he might normally act.  The warrior may find it hard to strike the assassin down, knowing that they’re probably just as innocent as his brother, and having experienced first-hand the confused anguish the dominated person’s loved ones would feel at their loss.

Of course, this is the kind of thing anyone can infer in such a situation.  But by building the story from the ground up, starting at a Tier 1 plot where the warrior is trying to find the truth about his brother’s actions and clear his name, it’s more visceral and real for the player to stop and think about this assassin as more than a token antagonist, rather than just finding out about it through backstory or narration.

Example: Constructing Your Tier 1 Story

Michael wants to tell a long term Tier 3 story about a global conspiracy where children suspected of harboring supernatural talents are kidnapped and replaced by fast-grown, short-lived clones, the technology for which is not publicly known. Instead of starting the story with the conspiracy revealed to the players however, he decides to start things on a more personal scale and introduce the overarching plot slowly, over three chapters.

So he designs the first chapter of the campaign as a Tier 1 story, revolving it around the player characters’ lives. Two PCs, Cassy and Don, are a divorced lawyer and doctor with partial custody of their son Jacob. Their college friend is an NPC named Lara, who works for a large bio-tech company, and her brother is the third PC, Jeff, a journalist.  A fourth PC is Mary, who’s a detective that is suspicious of the multiple sudden childhood deaths in the state over the past few months.

The players have little idea of what the campaign is about, and within the first few sessions Cassy and Don realize that their son is acting strangely, Jeff’s sister talks to him about a moral dilemma she’s in at work, and Mary investigates the children’s death on her off time and succeeds in getting her boss’s attention over it.

After each player has enough time to start to get a feel for their character, Michael sets the plot off with a bang: Cassy and Don’s child comes down with a sudden sickness, and within a couple days, dies. Shortly afterward, Jeff’s sister goes missing, much to his bewilderment and worry.  She left a cryptic message for Cassy and Don implying that their son’s illness may not be natural, but they had missed it in their panic and grief.  When they discover the message, they go to Jeff, who believes his sister’s disappearance may be related.  Jeff calls his friend in the police force, who directs him to Mary.

Now that the party is grouped, the plot of the campaign becomes clear: to investigate Jacob’s death and Lara’s disappearance.  It’s something extremely important to the players, but is still mostly personal.  They’re ultimately the only ones for whom the stakes are so high (that they’re aware of anyway), and the only ones who they can rely on to help them.

This is another important aspect of the story’s tier: it limits the scope of outside interference.

In a Tier 1 story, the players are more or less on their own.  While they may be able to recruit others into assisting them for various reasons, or even start to suspect that something bigger might be afoot, the sense of isolation is at the center of the story’s themes.  While it’s possible to have a Tier 2 or even Tier 3 story where your characters are the only ones who know about the dominant threat, it’s generally easier to find allies when other people are being affected by it.

When it’s only your child or your sister or your career or your life at stake, others might lend a hand… but few will be willing to risk much, or go quite as far, as you would.

The next post will discuss the structure of Tier 2 stories, and explore how to transition a Tier 1 campaign into a Tier 2 one.

Defusing Tension Between Your Players

Advice Level: Beginner to Expert Gamers

Tension between characters is something most groups have to deal with at one point or another.  Last post discussed some ways of creating tension between characters to add spice to the story, but sometimes that tension can spill over into the player interactions.

Reducing Player Tension: Power Unbalances

There are a number of things that can cause tension between friends or family, but one of the trickiest to diffuse is a disproportionate amount of power. Whether it’s money, or control, or even contribution to the common goals, a difference in power can rile up all sorts of negative emotions, either consciously or subconsciously.

No wonder the whole party is grumpy.

That’s the face of a man two inches away from heat-ray lobotomies.

Think of how much it must suck sometimes to work with Superman. Great guy, glad he’s on your side… but the man is ridiculously powerful.  In most circumstances he easily steals the limelight, while his allies are basically relegated to damage control or backup.  Plus, he’s nigh indestructible, while you’re out risking your much more fragile neck.  After enough time, that’s got to cause some resentment.

Not that things are so great for Superman. He’s the most powerful in pretty much every situation, which means he has the most responsibility.  The mission rides on his shoulders, and if he screws up, people die.  And indestructible is not the same as immune to pain.  Throwing yourself in harm’s way again and again so your more squishy allies don’t get killed isn’t exactly fun, but you do it, because you can take it.

And when it comes time to making decisions, whose should have more weight?  Superman’s going to do more of the work than anyone else.  Success is going to hinge quite a lot on his involvement. What if he doesn’t agree with the plan?  Is it fair to expect him to go along with ideas he doesn’t agree with just because you need him?

All these perceptions and attitudes can apply in a game where one player character is more powerful or useful than the others.  If a certain character feels useless, or a different one feels like they’re carrying the others on their backs, the playful ribbing that often occurs between players (“Hey look, a locked door… you get to be useful again!”) can turn somewhat less harmless (“You know what, how about we follow my suggestions for once, because I’m getting kind of sick of having to save your asses every five minutes.”).

If you see players getting disgruntled over a certain character being too much the “main character” of the story, or if a player is starting to develop a messiah complex, do a reality check and examine how you’ve been constructing the challenges of the campaign (or if you’re a player, talk to the GM about it).  Are they sufficiently varied to give each player a chance to shine, or are you repeating the same basics again and again, which play mostly to one or two character’s strengths?  This is by no means an easy thing to balance: planning out and improvising a story that allows characters of every strength to shine takes practice and constant creativity.

If rebalancing encounters and plot points isn’t enough and you see players already snapping at each other or getting frustrated, put things on pause and have an honest conversation with your players.  Explain what you think is happening, and admit fault (even if it isn’t entirely yours) to diffuse responsibility away from the players themselves.  As a general rule, the GM is safe to “hate,” and most players worth playing with in the first place will be quick to forgive or excuse a GM who self-deprecates.

If it’s simply a matter of unbalanced experience points or magic item acquisition, give the weaker characters opportunities to catch up through RP assignments (“Start a journal for your character, one entry between sessions for X experience”) or side quests relating to their specialized skills to justify giving them bonuses.

Reducing Player Tension: Conflicting Values

Some of the most interesting RP occurs between characters with different views on how the world should be, or how to achieve the same goals.  This doesn’t always just have to do with story-related events, though.   Sure, it’s possible you might see two players get into a heated argument over the various pros and cons of capitalism because of something that’s taking place in the game, or have everyone get pissed at a player who decided his character should kill the little orphan girl because she might grow up into an evil witch.

But it’s at least as likely that the conflicting values that cause tension between players have more to do with playing the game itself. Broadly speaking, it might help to group players into two categories: players that focus on fun, and players that focus on winning. Let’s call the fun-oriented players Timmy, and the win-oriented ones Spike. People can of course belong to both to different degrees, but sometimes one label does apply more than the other.

One of these owls is playing to win.

“Gettin’ real sick of your shit, Paul.”

Timmy may go for the most interesting character backstories or amusing plot advancement, and is okay with fudging with numbers, continuity, and even dice rolls to keep everything enjoyable.  Spike on the other hand gets their enjoyment from min/maxing their characters for highest effectiveness, will argue for every advantage, and want to take the most efficient routes to every goal.  When players that tend toward either extreme are at the table, you might see a Timmy get irritated at a Spike for taking up 10 minutes just to eke out a minor bonus, or a Spike insulting a Timmy for making a sub-optimal choice or action for RP reasons.

And sometimes the disagreement is on a completely different axis.  For some people, Timmy or Spike, the game itself is the source of the fun.  Getting the most gameplay packed into the few hours everyone has together is their preferred type of session.  For others, the social company and conversations are the main appeal.  They enjoy the game, but have no qualms about “wasting” half the session with goofing around or chatting OOC about their week.

And this conflict can exist in the GM too. It can be hard for GMs to toe the line between keeping everyone on track, but also not seeming like a taskmaster forcing people to play when they’re enjoying an amusing anecdote someone is sharing.

The most important thing to ensure is that most “discipline” at the table does come from the GM, rather than letting things get to the point where players are sniping at each other to “pay attention” or “relax, it’s just a game.”  The GM should gauge the mood at the table, or come right out and ask for a vote. Make sure to use language like “I feel like I might not be running the game tight enough, who thinks it should be more focused?” or “Is the game moving too quickly? Should I slow down and give you guys more breathing room?”

Based in part on your own preferred style of GMing, try to go by the majority of players’ preference, and talk to those in the minority about how the experience could be more enjoyable to them. Some players might want to focus more on the game because they’re the “newbie” of the group, and feel left out of most of the conversations or inside jokes.  Others might prefer the social aspects of gaming because they feel incompetent at the game, or aren’t really engaged in their character or the story.  Talk to your players, or if you’re a player talk to your GM, and nip such disagreements or feelings of alienation in the bud before they cause real, lasting drama.

Reducing Player Tension: Uneven Relationships

Finally, we come to the most basic source of tension between players, and it often has nothing to do with the game itself.  When game groups are formed of mixes of different friends who don’t all know each other equally well, there can be a pseudo-tribalism that takes place wherein players side (or are perceived to side) with the people they know best in a dispute, or when making a decision that would benefit one player over another.  This can get especially problematic if someone who is supposed to be neutral does it, like the GM.

calvin_arguingBecause this comes down to personality of players involved more than any of the other sources of tension, there’s not a whole lot that can be done about it except doing your best to treat each other with respect, honesty, and fairness.  Be self-aware and recognize if you’re exhibiting bias in a way that actually impacts another person’s enjoyment of the game.  However, if a player continually accuses others of granting another player an advantage “because you’re friends” or “because you’re dating/married,” remind them that it’s just a game, and straining real friendships isn’t worth the drama. If the negative attitude persists, it might be time to privately inform them that perhaps they would have a better experience at another table.

No one is perfect, and both GMs and players should be aware of their mistakes and work to fix them.  But ultimately, there is a level of maturity that should be expected and enacted by all people involved, and if one person is ruining the experience for others, and mediation or intervention fails, the best way to reduce tension may just be to go your separate ways, as far as this particular hobby is concerned.

Creating Tension Between Your Characters

Advice Level: Beginner to Moderate Writers, Beginner to Advanced Gamers

rope-tensionTension between characters is something most groups have to deal with at one point or another.  Some would prefer that everyone work as an always-friendly and solid team, while others get a thrill from the danger of potential PvP.  However, the attitude of the participating players plays a huge role in influencing how such tension plays out, and few people enjoy the drama that can spill over into Out of Character interactions.

Creating Character Tension: Power Corrupts

Or at the very least, it changes people.  It’s wisdom passed down through the ages, verified by modern experiments and countless anecdotes, that most people’s personality, their values, their behavior changes when their wealth, freedom, or influence are increased… and what those things boil down to is “power.”

Maybe a character was a small time politician that suddenly emerged at the top of whatever crisis they were engaged in, to right social wrongs.  Maybe they’re a mage whose reach for power is swiftly exceeding their grasp, but their thirst for knowledge is unquenchable.  Maybe they’re a soldier that finds themselves suddenly high in the chain of command, and must do what it takes to see their people to victory.  Or a drug runner that finds themselves kingpin, and realizes how big the world really is, and how large a slice of the pie could be theirs.  Or a simple teenager that wakes up one morning with superpowers, and must decide whether to use them for the good of all, or just themselves.

The forms power can take are limitless, but the symptoms speak to common desires in all of us. Pride, that we earned our advantages and are entitled to them.  Charity, that we can use our advantages for the good of others.  Greed, that we can have our every wish.  Justice, that we can do what’s right.  Wrath, that we can get back at those who wronged us.

The impulses and desires that come up with the acquisition of power is what makes characters human (or, if they’re not human, relatable). As such, GMs or writers looking to highlight conflict between characters should keep in mind what might happen when a character acquires more power.  Mixing and matching vices and virtues can provide for very compelling character arcs, not the least of which will come from the consequences exercising their new influence and control.

In addition, “power” is always relative, and often only matters when you can get more of it, or keep it.

What will a character do to assure their power is secure? What will they do to assure their power is sufficient?  What won’t they do?  These are the questions that should be explored when power is gained, because these are the questions that show the change in a person, and not always for the better.  Not only that, it can also change other characters by association, whether by greed, or envy, or disgust.  An unbalance of power can bring even minor differences between characters into sharp relief.  Simply put, these are the things that can cause tension between the characters.

Can characters trust their ally to still consider their best interests with a clear perspective when his vision is clouded by power?  Can’t he see what he’s turning into? Sharpen your knives, loyal companions, and hope you never need use them on one you once called friend…

Can the newly powerful trust her allies to understand how much responsibility is on her shoulders?  Can’t they see what needs to be done? Watch your friends, Queen Regent, and take steps to assure they know what’s at stake…

Creating Character Tension: Opposing Values

What’s the right balance between Freedom and Safety?  Do the sufficiently important ends always justify the means, or are some things unacceptable regardless of circumstance?  When should the good of the few be sacrificed for the good of the many?  What is the value of Truth, when a lie may leave one happier, or lead to peace?

These are just some of the values that can divide characters on what the “right path” in any given situation is, and the GM should be aware of these differences to engineer situations that create tension.

That politician that rose to prominence? They can’t just slack off and do what they want: they need to keep their position now, and that means doing favors and undermining opponents… in other words, it means playing dirty. It means political wheeling and dealing, sacrificing ideals for results, all for the sake of the children.  Who among their advisers and friends will tell them that they’ve gone too far, lost sight of their goal, or are potentially doing more harm than good? And what would they do to stop them, if they needed stopping?

The mage is learning with every spell they cast, but that rush of insight only leads to ever more questions and possibilities that need exploring.  But are they digging into questions better left unanswered?  Is the cost of their curiosity worth their esoteric knowledge?  Who will be their rock, remind them that they’re losing grasp of what really matters in life, of the people that care about them?

That soldier-turned-general’s power comes with a purpose: to lead their brothers and sisters to victory, and that means doing whatever it takes to to win.  Which of their followers will stand up to them when they’re ordered to do something that goes against their conscience?  Who among their friends will argue that they’re becoming no better than the enemy they fight?

These are all potential sources of conflict between characters, and should be encouraged among the players who find moral or ethical differences dividing them.  A writer can plan out such differences, and a GM can always introduce these questions by NPCs if needed, which may spark other players’ own introspection and expression of doubt.

Creating Character Tension: Uneven Information

As I previously explored in another article, the choices that players make are largely based on the information they’re given by the GM or narrative, and creating meaningful choices for characters to decide on requires providing enough information for them to understand some of the potential consequences of those choices.

However, to promote conflict between players and wedge a divide in a party, supplying some characters with more or different information than others can be a great way to have them at odds.

Perhaps a character in the party is given information that they have reasons to purposefully keep from the others.  What if knowing would put the others at greater risk?  What if they want the others to have plausible deniability, if things go wrong?  What if knowing would have them turn on each other?  It could be a delicate balancing act for a character to keep such secrets from their friends and allies, especially if others begin to suspect they know more than they let on.

Or maybe some of the characters just have secrets, things that they keep hidden for fear of being rejected or turned against.   Maybe another character in the party knows their secret and agreed to hold it for now, but thinks it should be revealed sooner rather than later.  Romance is one of the most common among these things, if infidelity is involved.

In another type of scenario, characters may have to choose sides in a conflict, with some not having the full story.  Maybe no one does, but someone thinks they do, and acts against the interests of the group with the belief that they’re doing the right thing, and the others will understand (if not thank them) later.

A particularly fun one for games is when everyone knows a character is hiding something from them.  If you as a GM can get one of your characters to face down the rest of their hostile glares and say “Look, you just have to trust me!” then give yourself a pat on the back.

Sometimes however, the fallout between characters can spill over onto the players, or other things can cause tension or conflict between them. This post applied to both writers of stories and the GM of RPGs, but the next will give advice to GMs that might have to deal with players that take things too personally, and how to deal with diffusing drama and tension between players.

Joining the Party

Advice Level: Beginner to Moderate Gamer

The_Tavern

                             Image from: Papers and Pencils

Whether you’re a new GM, nervous but eager to experiment with story ideas, or an experienced one with a handful of favorites that you enjoy seeing taken in new directions, figuring out how to start the campaign can be a headache.  Most just default to having the characters meet at a tavern or inn, and while perfectly serviceable in its own right, there are plenty of alternate ways to join the party together in a more organic and interesting fashion. 

First things first: tie some characters together.  If you have four to six complete strangers in your game, of course it’s going to be harder to group them all up without heavy-handed storytelling.  So don’t be afraid to attach some of them: a brother and sister, say, or two travelers who met on the road and threw their lot together.  Having a shared history between characters encourages roleplaying, and makes it easier to tie large groups together.

That brings us to our second point: backstory. Think of their initial motivations and skip the “quest acceptance” phase where they all hear about it together and decide to group up.  Draw on the characters’ backstories to supply their motivations for the initial scenes, and bring them together “in the field,” as it were.  Instead of everyone being at a tavern and hearing about a bounty on a dragon that settled in a nearby cave, have them meet on their way there, or at the cave’s entrance. Explain to each how they heard of the dragon in their own way, and let the player figure out their motivations for going.  Perhaps the Paladin was ordered to kill the beast by his superiors, while the Rogue is going in search of treasure.

railroadingThis may seem like railroading to some: after all, the GM is forcing the characters to already be somewhere doing something. But the point is to have the characters meet in new and interesting ways: plopping them all conveniently at an inn is no less railroading.  Besides which, each character can still make their own decisions upon meeting the others if the character is intent on going it solo, or end up deciding to turn back.

And finally, there’s no such thing as coincidence when you’re playing minor deity to the story.  Don’t just acknowledge that fact: embrace it.  If people look at you funny when they “just happen” to run into a fellow player’s character, just raise an eyebrow, cross your arms, and ask them if they’d prefer to still be on their own when the bad guys show up.  In most cases though, you won’t have that problem.  Players tend to want to group up: as much as metagaming is discouraged, they know they’re supposed to be playing this social game together (in most cases) and will happily take any given excuse to have their characters meet for the first time and interact.

But that’s no excuse not to give them a better story and setting for it.

Classic/High Fantasy

The local ruler or magistrate has summoned one of the players, the Warrior, to be questioned after a citizen accuses their character of mass murder.  Shocked by the false charge, the Warrior is further dismayed to see guards ready and waiting to throw him in jail.  He makes a run for it, and after ducking into an alley to evade pursuit, is aided by the second player, a Rogue who feels sympathetic to a fellow (alleged) criminal.  Protesting his innocence, the Warrior nevertheless accepts the Rogue’s help and is able to give the guards the slip, for now.

(Or perhaps the Warrior allows himself to be jailed so that he may fight the unjust charges at trial, only to overhear that he’s to be executed the next morning.  A Rogue in an adjoining cell has a plan to escape, but lacked the strength to do so alone, and the two collaborate to gain their freedom.)

Meanwhile, the third and fourth players, a Druid and Priestess brother and sister, are doing what they can to discover the truth behind a series of murders in the town that seem unnatural to them, bearing traces of necromantic magic.  They hear of the Warrior’s arrest, and realize that he is being framed.  They decide to find him and enlist his aid to finding the truth of the matter, and thus clear his name.

Modern

http://www.destination360.com/north-america/us/new-york/images/s/american-museum-of-natural-history.jpg

An ancient artifact has recently been discovered in an archaeological dig, and is being unveiled at the Museum of Natural History.  The first player, the Archaeologist,  will be giving a presentation and speech recounting how the artifact was found and its mysterious origins.  The second player is also there, one of the journalists tasked with covering the story.

During the presentation however, an explosion goes off and sends the crowd into a panicked stampede. In the confusion, a group of masked men smash the display, grab the artifact, and run for it.  The Journalist gives chase hoping to get more info for her story, as does the Archaeologist  who is incensed beyond reason at the thought of the priceless artifact (and his greatest find) being stolen and lost to history.  They don’t manage to catch the thieves, but become acquainted in the process of chasing them.

The next day, the Archaeologist is called in to assist in the investigation of the robbery, which is being led by player three, the Detective.  While answering questions, the Archaeologist gets a call from the Journalist from the night before, who has questions of her own about the artifact and who might be interested in it… questions that indicate she is on the trail of the thieves.  The Detective is intrigued to know what information the Journalist has and how she got them, and the two enter an agreement to share information for first rights to breaking the story.

Science Fiction

A science vessel on its way to monitor a new planet recently sent out an SOS, then went ominously silent.  The United Terran Republic sends out a search and rescue ship, which players one and two, Medic and Marine, are on.  When they arrive there, they see that the ship appears undamaged, but get no response when hailing it. The rescue ship docks with the larger vessel to investigate.

Unbeknownst to them, a stealthed pirate ship has already arrived at another bay, and its crew, including players three and four, Mercenary and Mechanic, are scavenging its strangely unoccupied interior for valuables.  When they detect the rescue vessel, they decide to cut their raid short and head out.

Strangely, their ship’s controls are dead, and the rescue ship’s crew discovers the same problem with their vehicle.  The only clue they have as to what happened to the science vessel is player five, a Pilot who claims that she was asleep in her cabin when a strange energy pulsed through the ship and woke her up, to discover her fellow passengers missing without a trace…

These are all merely ideas that can be adapted or inspire your own story’s beginnings with a more memorable, organic Joining of the Party. If you have your own cool ideas or experiences of interesting ways your RPGs have started, feel free to share them!

Gaming with Sound

Advice Level: Beginner to Moderate Gamer

With great sound, comes great responsibility.

One thing a childhood of non-verbal video games taught me is how valuable sound can be as a means of conveying story.  I’m not just talking about the amazing music of Chrono Trigger or Final Fantasy: Tactics, but also the sound effects, the ambiance.  The rabble of mixed voices when in an outdoor market or tavern, the creak of a door when exploring a dungeon, the agonized cry of a party member or enemy being KO’d… these things were invaluable in making the experience immersive.

And there’s absolutely no reason they can’t do the same for tabletop gaming.  The GM’s voice is the most powerful tool in their arsenal for conveying the story, but when they’re not narrating exposition or switching voices for NPCs, they can give it a well-deserved rest and draw on other sources.

Namely, technology!  Even a decade ago, using sound effects in tabletop games would have taken quite a bit of forethought and effort.  But thanks to smartphones, tablets and youtube, it couldn’t be simpler. (Lifehack: for best acoustics from smartphone, place it in a tall cup. Ensure cup is empty first.)

Players going through a dungeon?  Just put this on loop in the background:

http://www.youtube.com/watch?v=yAmYNTJDCsk

A dragon about to swoop down on the group? Find a good roar to have them shaking in their boots:

http://www.youtube.com/watch?v=JIjNln61s4U

And if an enemy gets killed? Just before you slam the table to indicate their body hitting the ground, play one of these: everyone loves Wilhelm!

http://www.youtube.com/watch?v=AGce8M-MZxs

(Note: not everyone loves Wilhelm)

There are dozens of sound effects you can use to help immerse your players in the story, and players can get in on it too for generating their own sound effects.  And this goes beyond just playing gunshots when a character fires a weapon, or a distant police siren to alert players that cops are approaching the scene.

See this Big Red Button? Push the Big Red Button.

BRRRAAAAAWWRRRrrr… Glorious.

Imagine using that bad boy when giving a dramatic synopsis of the previous session:

When last we left our heroes, they decided to work together to solve the murder of the night watchman.  Little did they know that as the coroner was returning the body to storage, another had just been found at the church…

…and a dozen more remain unfound.

BRAWWWWWRRRrrr.

Night is falling on the sleepy town of Serenity.  A night that will bring darkness far beyond the absence of light.

BRAWWWWWRRRrrr.

What stalks this hamlet is an evil that walked the earth before man tamed fire. The first wave of victims were mere accidents, whetting its appetite.  The next…

BRAWWWWWRRRrrr.

…will herald the new Dark Age.

BRAAAAAAAAAAAAAAAAWWWWWWWWRRRRRRRRRRRrrr.

You get the idea.

(Note: the Big Red Button is a sacred responsibility. Do not abuse it, or be warned, thee may verily be struck upside the head by thine companions.)

Gone are the days of banging coconuts together to imitate horse hooves clopping down the road: now you can just play a recording of someone banging coconuts together to imitate horse hooves clopping down the road!  Not that you can’t still use the classic methods, if you prefer them.  Whatever your method of delivery, don’t forget to include Sound in all its myriad forms when telling your game’s story: too often it goes overlooked, despite being just as important as Sight, if not arguably more so. Try to keep all of the senses in mind, even taste.

If you’re looking for more sound resources check out the following links:

Mature Themes in Gaming: Pregnancy

Advice Level: Beginner to Advanced Gamer

So your story is moving along fairly smoothly: characters are developing, plot is advancing, relationships are forming… when suddenly, BABIES!  Or more specifically, suddenly, one of the characters turns up pregnant.  Cue collective groans.

First off, this is the kind of decision that should almost never be made by the GM alone. If a player is having wanton sex without mind to consequences, a GM might be tempted to inflict pregnancy on them or their partners to make their life a bit more complicated.  However, pregnancy and abortion are incredibly sensitive topics to suddenly inject into a social group, and it can cause unpredictable drama.  If the GM feels the need to drop an Aesop on The Dangers of Unsafe Promiscuity, it’s generally safer to have the character be affected by social stigmas (or even contract an STD) instead.

That said, if GM or players really want to include pregnancy in their game, it can be a challenge to ensure it’s an engaging part of the story, rather than one that turns people off of it.  Here are some dangers to keep in mind when navigating the minefield that pregnancy represents in tabletop games.

Pregnancy as Plot Device

There are a number of circumstances where a pregnancy is central to the plot of the story.  For example, if the baby is the Magical Messiah that is prophesied to end the Thousand Years of Darkness (or conversely, if it’s the Anti-Christ who must be magically aborted before it brings about Armageddon), then it serves as the McGuffin for the characters to rally around or focus on.

Unfortunately, if one of the PCs themselves are the pregnant ones, this could unbalance the importance of the character in relation to the others.  If it’s a small group or everyone involved in the game already agrees on it, there’s usually no issue.  If it’s sprung on some of them however, it can be a bit unfair to many players that one of them is suddenly at center stage in the narrative.

padbirth-fuckyeahpadmeamidala

“I want my character arc to be just like Padme’s.”
Said no one ever.

On top of that, the pregnant character themselves may not be particularly overjoyed either.  Traditionally in media, especially stories that involve a lot of action, women have been relegated to support or side roles far too often.  When they did enter the limelight, it was often in one of the narrow roles defined by their gender rather than their individual identity.  To put it plainly,  men in fiction are rarely important because of what they are, rather than what they do. Men are important because they’re strong or smart. Women on the other hand were often only important because the main character found them attractive, or they were helpless and needed saving.  Women were much more often captured rather than killed, or raped rather than tortured, and so on. And a lot of modern media is still working to undo those rigid stereotypes.

Even if the player previously agreed on their character becoming pregnant to serve the plot, they may eventually find it frustrating when they find themselves put in the box of “damsel in distress” by default.  While it’s possible for a pregnant woman character to exhibit badassery by tapping into Mama Bear impulses, generally speaking they will be expected to stay out of harm’s way, as their life will be valued above others’, or artificially protected by Plot Armor.

And again, this might be something the character is perfectly fine with… but it shouldn’t be something that’s dropped on them unexpectedly. There is a depressing trend in gamer groups with only one female character or player where the “knocked up” plot hook keeps getting dropped on them.  It might not seem like that big a deal at first, but being pigeonholed into a role gets old fairly quick for anyone.

Pregnancy as Plot Derailment

Conversely, if the pregnancy is NOT central to the plot, it often instead has the effect of a small moon entering a planet’s orbit, exerting forces that destabilize its trajectory.

Amidst all the major and minor story arcs, suddenly one or more of the characters are concerned with something that’s of little interest or importance to anyone but them.  Not that there’s anything wrong with that, sub-plots often only involve a couple characters. But having children often changes people, or at the very least shifts their priorities. In a small gamer group this might not be that big a deal, but in a large one it can alienate the characters involved in the pregnancy from the others who are dealing with their own, more “public” subplots.

And then there are the effects of the pregnancy itself.  If enough time passes in-game, there will start to be some inescapable symptoms (fatigue, nausea) that put the character at distinct disadvantages, unless you just pretend those don’t exist.  Once the pregnancy begins to show, any sort of straining physical activity becomes difficult, and the character’s athletic skills become effectively crippled.  Many systems have built-in modifiers to reflect this, like taking negatives to rolls involving dexterity or stamina, and even ways to figure out whether the baby is harmed by events.  After all, should a pregnant woman really be dungeon-crawling for treasure, or chasing down suspects for a shoot-out?  And if they can’t, what can their character do during the months of inactivity that still lets them feel productive and engaged in the story?  How will the party fare without them?

Consequences

If you’ve read all that and are still determined to include pregnancy in your game, the most important thing to keep in mind is devising the right consequences for any outcome to make the pregnancy a compelling part of the story.

What if the character decides to have an abortion?  Will there be a negative backlash from the father?  Their society?  What if they miscarry during some particularly intense physical interaction?  Will they feel guilt and loss? How will it affect their future trysts?

What if they carry the child to term?  Will they raise it themselves? Do they have the funds and time for that?  Will they continue the adventure in the meantime, risking their lives and potentially orphaning their child?  Will they give the child up for adoption?  What emotional consequences will they feel?

To spice things up, try to think of the most interesting ways to introduce conflict that helps characters struggle for their child’s well-being.  This helps the parents (and their players) actually care about the “make-believe child.”  For example, if the child is carried to term through strange circumstances or magical settings, how might it affect their well being?  Do the parents need to find some ritual or potion to ensure their child’s health? Consider demonic/spiritual influences or magical “radiation” that might affect the child’s destiny.

If the mother or father are relatively famous or powerful figures in the world, how worried are they that their enemies will discover and try to strike at them through their child?  Do they try to keep it a secret?  What happens if the child is kidnapped?  This is something the rest of the group might even rally around and assist in.

Again, caution is urged to have a care for player sensibilities: fantasy or supernatural influences aside, pregnancy and its assorted complications and consequences are all very real and traumatic events that can occur to people without even their friends necessarily knowing about it.  With tact and care, it can be a compelling part of a story or character arc, but without it you might find certain players suddenly less interested in returning for subsequent games.

Mature Themes in Storytelling and Gaming: Rape

Advice Level: Beginner to Advanced Writer, Beginner to Advanced Gamer

As far as generalizations go, it’s fairly easy for me to say rape is the worst crime someone can commit.

Very brave, I know, but there are arguments to the contrary, so I felt the need to preface this article with just why I personally consider rape the “unforgivable sin.”  Lying, theft, even murder are all things I can rationalize or justify in the proper, if rare, context.  There’s no such thing as “self-defensive rape.” There’s no Robin Hood of rapists, righting social wrongs by sexually abusing others.  Anywhere free will is a factor, as far as I’m aware the choice to rape someone is always a purely self-serving action.

No other act is as inherently, dare I use the word, Evil.  This makes it among the most powerful tools in storytelling, discomforting to write and unnerving to witness.  Because of how traumatic and extreme it is, however, it’s used far too often as a bludgeon, stripped of nuance and used for its easy shock value.

So I’m going to explore the ways rape is often used in storytelling in general, and then specifically how to deal with it in tabletop games.  I’ll also give examples of how to approach it the most respectful, but still meaningful, way.  Art explores every aspect of life, inspirational and ugly.  When you’re telling a story, either through a novel or tabletop game, there are always ways to treat sensitive material honestly, but also with tact.

Rape as Easy Villain Creation

Kick the Dog is a trope in storytelling in which a character does something so pointlessly vile that it immediately sets the audience against them, and makes it clearer than crystal that This is a Bad Guy, Feel Free to Hate/Kill Them.  As you can imagine, rape is one of the most common forms of bashing an audience over the head with just how bad a villain is.

While the act of rape is unequivocally amoral, it’s also not particularly interesting or unique.  It’s often used to press emotional buttons (shock, disgust, hatred) without making people think.  And while stories are definitely about evoking emotions, evoking thought is the hallmark of a truly meaningful tale.  The danger in making the villain a rapist in addition to whatever other acts they do is that it’s often unnecessary, and it has diminishing returns on anyone with extensive experience with stories.

Protagonists should want to defeat a villain because they are doing things that are uniquely bad, or at least uniquely impactful.  An antagonist rebel leader intent on overthrowing a government, in the name of “justice” for past wrongs it committed.  A warchief leading his people in pillaging villages, to survive after their land was struck by drought.  These are the motivations of interesting villains who can still be brutal and dangerous.

But unless the theme of rape is central to the story, sprinkling it on top of a villain’s character often cheapens them.  It makes the revolutionary a hypocrite, the chieftain a savage.  And if you want a truly heinous villain, there are ways to do it without rape, the equivalent of a post-it note on their forehead that says EVIL. Like a blaring bass in a song, rape drowns out details and becomes the only thing that anyone really thinks about or notices.

For those rare cases where rape is a central tenant of a villain’s character, there are still ways to do it with skill.  For example, child molesters often come in two flavors: those that acknowledge their urges as vile, but fail to fight them due to their “overpowering love” for the sweet, innocent victims, or those that see nothing wrong with it, and groom their victims until they give in to the power differential.  They justify it to themselves, they think it through, they sometimes even agonize over it.

Taking from these more nuanced molds can make people think about rape and child molestation in new ways, rather than default to it as the act of an enigmatic monster.

Rape as Character Backstory

One of the easiest ways to portray a character sympathetically is to include that they were raped, especially as a child.  It can justify a revenge motive, give license for a jaded worldview, or succinctly communicate that a person came from a life of hardship. Rare is the street urchin or foster child in fiction that wasn’t sexually abused at some point in their past.

And the simple truth is, this works.  It acknowledges the grim reality that rape is tragically common on a societal level, while also being rare enough on an individual one that many will consider it a unique branding that sets the character apart from those around them.

The problem comes when it is thrown into the mix of a character’s backstory, then forgotten. Many people like their heroes to be consummate badasses, and dwelling on periods of a character’s weakness, humiliation, or trauma can interfere with the fantasy.  It’s also starkly uncomfortable, on many levels.  Rape is often a life-changing trauma on par with few others.  To never make mention of it except in passing, never have it negatively affect the character in the here-and-now, would be like making their backstory that of a rugged street-fighter, but not giving them any scars.

That’s not to say a person who was raped can’t recover from the experience: many people do, to one degree or another.  But portraying it as simple and straightforward cheapens the crime and experience, and makes it harder for a character to feel truly authentic and three-dimensional. Utilize it with care, and respect your characters enough to keep it a part of them, rather than simply a bomb you drop for spectacle and then move on from.

Rape as Player Actions

In the real world, there are often simple, broad generalizations we mostly feel comfortable making in regards to morality.  In stories where magic or superpowers or advanced technology is present however, there are scenarios that we don’t encounter in our world which may cause some of us to re-evaluate where the grey line of morality is drawn.  Even when it comes to rape.

For example: Is a love potion/spell considered rape by a game’s mechanics?  If one of your characters magically seduces an NPC into loving them, or uses mental powers to make them highly suggestible or uncontrollably aroused, what backlash should they expect?  If your game has a morality system of some kind, does that count as rape, or the “lesser” crime of influencing another’s mind (assuming the system categorizes them differently)?  Or is it both?  After all, the most common definition of rape is sex where a participant is unwilling.  If they are willing, even through altered consciousness or hormones, it might be unethical, but calling it rape might seem a bit extreme to some, especially since influencing someone’s mind in other ways is usually seen as much less extreme a crime.

Our closest real-world equivalent are things like date-rape drugs, the result of which is without a doubt rape.  If someone made a drug that turned a person murderously violent, would you want to be held responsible for your actions if someone slipped one into your drink?  Just so, giving someone a roofie and then having sex with them as they float in and out of hallucinogenic consciousness is no more them agreeing to sex than it is them agreeing to jump off a building because you threw them.

So what does all that mean for creatures that regularly use seduction as forms of control?  If a vampire’s bite induces ecstasy, does that mean every vampire character is a rapist just by feeding on others?  The case could be made that unless actual intercourse (or related activities) take place, it is merely influencing another’s mind in a way that happens to be erotic.  In the end though, it is without a doubt a heinous breach of that person’s will and the sanctity of their mind.  That they were forced to enjoy the experience could easily leave them even more traumatized.  Remember that, modern day re-imaginings aside, vampires were first and foremost considered monsters.  They prey on helpless victims and gain sustenance from draining their life: that they might find the hunt easier or more enjoyable because their victim is made to desire their lethal kiss is part of what makes them monstrous.

As for interactions between players, the question of how far mind control should go is bound to be touchy when it comes to sexual activities.  If one character with high charisma, persuasion, and general charm wins a contested dice roll to influence another into being less hostile toward him, or going along with his plan, that seems fine and dandy to most.  If, however, that person does it to convince the other player to take their clothes off, that might make a player a slight bit uncomfortable, to say the least.

If the character outright uses some supernatural means to subvert another player’s control over their character’s actions or feelings, the GM or player should probably put their foot down and use the old “hypnotism” standby: influencing another’s mind may help push them toward doing what you want, but it cannot make them do something they subconsciously would never do.  In other words, a siren may use her alluring voice to fill someone with carnal desires, or a vampire may use mental influence to appear as the embodiment of sexual perfection, but it’s still up to the victim to act on those desires, or not.

Give the affected character penalties to actions due to being distracted by the supernatural influence? Sure.  But they should still be able to punch their assailant between the legs when ordered to “touch” them.

(PS: None of this is intended to cast judgement on those who enjoy roleplay that happens to include anything mentioned above. As long as everyone involved consents, by all means, enjoy what you enjoy!)