Cut to the Chase Scene – 5 In Medias Res Starts for your One-Shot

I’ve blogged before about the importance of a strong start in your one-shots, and a good way to achieve that is to start in medias res – in the midst of the action.

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In Medias Res as a term was coined by Horace in his Ars Poetica, when he pointed out that Homer’s games of D&D he was running down the Parthenon didn’t start ab ovo – with the dragon hatching from the egg – but right in the middle of a pitched battle against orcs. Or something like that. What it means for us is a reliable way to get dice rolling within the first twenty minutes – and get the pace tripping along right from the start.

So, here are 5 In Medias Res’s to get your one-shots off to a bang.

The Previous-Quest-Maguffin

Gamma World’s famous flow-chart – more fun to look at than play through, in my experience

Begin at the end of the last adventure – where they find a fantastical item that spurs them on to the main quest. A good chance for an ‘easy’ section of dungeoning – a ‘training level’ – to get the item, and then some problem solving / roleplay to interpret the item and pick up the trail.

Credit to Dirk the Dice of The Grognard Files who did this in a memorable Gamma World one-shot that I’ve shamelessly stolen (both here, and in other con games) – in that game we used the infamous artifact flowchart to decipher the mission.

Trapped in the Tomb

Don’t just start at the door to the dungeon, have the party on the wrong side of it as the trap triggers and the door closes behind them. You might want to have another peril activate at the same time, just to lay it on thick that they need to find a way out – as well as whatever they came here for in the first place.

Note that if you’re doing this you’ll need some NPCs or other roleplaying opportunities in the tomb/dungeon/derelict space station in order to make this more interesting – so throw in a chatty mummy/off-message AI/reactivated golem for the PCs to interact with and help/hinder them as well.

The Contest

You don’t think just anyone gets to represent the king while plundering the treasures of the forgotten jungles? No, every year you must compete for the privilege against the nations most foolhardy heroes. Feel free to have some of the failed contestants travel over there anyway as a rival adventuring party – that the PCs will eventually have to save and/or fight.

In terms of pacing, don’t make the contest too long, or it might become the focal point of the whole session – a few skill checks or a simple combat should be enough. Last year I started a Legend of the 5 Rings campaign with each PC describing the gift they’d brought for the daimyo they’d appeared to serve, and then make a skill check for how successful their gift had been – and one bushi’s terrible sake became a recurring theme for the whole campaign.

In Medias Res-ervoir Dogs

The heist (dungeon crawl, assassination, saving the city, etc…) went wrong – or at least drew a lot of heat. Now they’re on the run, trying to escape and fix things. A good way to start with a chase scene – either using the RPGs chase mechanics or just some opposed skill checks or a fight.

This is a good example of a fight with a clear objective – and an opportunity to intersperse the scene with flashbacks of the actual job they’re running from. Note that in Reservoir Dogs they just lie low and chew scenery at each other – diverge from the film in your game and have them carry out the even bigger score that will make things right, hunt down the contact who betrayed them, or finally get the jewels back.

Zombies Attack!

Wherever the PCs are at the start (tavern, castle, space station, etc…) is suddenly subject to an invasion. A recent session of Deadlands I played in started with zombies crawling through the saloon floor, and it’s a well tested method for starting with a bang.

As with Trapped in the Tomb, you’ll need to make sure there’s a few NPCs for the PCs to interact with during the session so it’s not just a string of fights, but having the call to action be an actual invasion is a classic trope. See here for more ideas about managing invasions – you might want to think about what weakness of the attackers can be exploited, and how they can find it, for instance.

So, five ways to start your one-shot with a bang – what other ways have you seen a one-shot started? Let me know in the comments.

Fighting Talk, Part One – Know Their Enemies

Particularly in one-shots, building battles is a bit of an art. Most crunchy games include some guidance on balancing encounters (and those that don’t should), but I’ve found some general principles that will improve almost any fighting encounter that you have. In Part Two we’ll look at the battlefield itself, but in this post we’ll look at your opponents.

For this post I’ve given examples based around 5th edition D&D, because it has guidance for balancing encounters in the DMG that is both thorough, and also a bit misleading – but the same principles apply to other games.

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Balancing Your Opposition

I’ve said this a few times on the blog already, but I’ll say it again – fights, especially in one-shots, should be easy or hard – not “medium.” An easy fight at the start of a session to help everyone learn the rules is a fine thing, or an opportunity for the players to show how awesome they are, but a ‘medium difficulty’ fight is, generally, weak. If you play D&D or Pathfinder, the majority of the fights you’ll find in published scenarios are at this level – just cut some of them out and beef up the ones that are left to make it at least “hard” by whatever difficulty metric they give.

The reason that games often give a ‘medium’ difficulty level is about attrition. The classic D&D resource management game is that you will gradually use resources through the adventuring day, meaning a selection of averagely difficult fights will wear you down and provide a tactical challenge. I don’t really agree with this approach, even in long-term play – a few big battles are better than lots of middling ones, and I think resource management like this is overrated.

You Need More Than You Think

One opponent per PC is an absolute minimum if you want an exciting battle. There’s tricks and ways to make a fight against one big opponent work, which I might talk about in a later post – but if you’re looking for an exciting fight, you probably want the number of opponents to be between 1.5 and 3 times the number of PCs.

How do you do a big fight against, e.g., a dragon then? Simple, just add in some low-level supporters. If you’ve got 4 6th level D&D characters, a “hard” fight can be a Young White Dragon (CR 6) and 5 or 6 Scouts (CR ½) – the scouts won’t be as big a threat as the dragon, but they’ll still harry and whittle away at the party’s resources ensuring that they won’t just be able to mob the dragon from the start. It’s easy in D&D to fall into the trap to think that low CR monsters aren’t suitable for mid- or high-level parties, but they absolutely are – which brings us to…

Minions, Mooks, and Hordes

Big fight scenes need a big cast – which means more enemies

If you’re going to have lots of opponents without swamping the PCs, some of those opponents might have to be quite low-level. A group of low-level minions is an excellent set of opponents to add to a challenging fight. They’ll draw the PCs’ fire, get between them and the main opponents, and give the players a chance to show their awesomeness by going down easily.

If you’re worried that there might be too many, give some thought to morale options – maybe once their leader is killed they’ll run off into the hills, or half of them hang back as they attack in waves. With lots of opponents you have a few ways to pace battles you can use depending on how it’s going – make it logical, and don’t hold back, but you don’t have to have them all charge in at once.

Make Them Individual

Give your opponents identifying traits, names, or other characteristics. On a VTT, it’s easy to drop name labels on to each of your mooks – it feels much cooler when the goblins they pick off have names. Otherwise, even just listing a characteristic of each of them – this one has one eye, this one is overweight and limping –helps it to feel like a TTRPG instead of a video game. Generally, I’d not recommend altering any of their game statistics for this – keep it simple for yourself – but you can use it in their descriptions.

Another more general way to improve individuality is to reskin monsters liberally. Bestiaries will act like they’ve gone to loads of trouble to make monsters individual, but it’s so easy to reskin monsters to make similar opponents. Need stats for Big Baz, the slow-moving henchman of the chief bandit for your bandit encounter? Baz is a zombie with no undead traits. A low-level evil sorcerer can easily be a reskinned Sea Hag  with his claws a magical bolt and the Horrific Appearance a fear spell.

And one of D&D’s great secrets is page 274 of the DMG, the “Building a Monster” section, that lets you design monsters from the ground up – also perfect if you want a slightly stronger monster to lead a pack of them – just go to the next level up and increase its CR.

Putting it All Together – An Example

With this in mind, let’s set up the personnel of encounters for a D&D one-shot, exploring a group of goblins who’ve hidden in a cave and are harrying villagers. I’ll be talking about the “3 Fights” one-shot structure in a later post, but you can probably grasp the basic idea of it from the name, so for our three encounters – balanced for a 2nd level party of 5 PCs – we’ve got:

Fight 1 – The Guards (at the entrance, or patrolling) – a DMG “easy” fight, although we’ve gone a little over budget – it’s likely the PCs will get some sort of surprise on them, and they’ll be fighting them fresh, so this should be straightforward for them.

2 Goblins (CR ¼) and 3 Goblin Hounds (Mastiffs – CR 1/8)

Even for an easy encounter, having enough 5 opponents will still mean that they’ll have to think about who they engage, and if they can afford to protect a ranged-based character or wizard.

Fight 2 – The Kennels  – this is a “hard” fight, and again it’s a little over budget – we’ll have the worg hang back for the first round, and only arrive to defend its pups in round 2.

2 Goblins (CR 1/4), 1 Worg (CR 1/2), 4 Goblin Hounds (Mastiffs – CR 1/8)

More opponents this time, and a big beast that they might want to join forces to handle – but by arriving on Round 2, they’ll already be engaged with the hounds and goblins. Depending on how the PCs are looking at this stage, we have some tactical options to balance this – we could always throw everyone in at once, or have the goblins hang back in cover and fire arrows at the party.

Fight 3 – The Boss Fight – this is a DMG “deadly” fight – we want to try to engineer that the PCs are pretty healed up and ready for this fight, which shouldn’t be too much of a problem as it’ll be the climactic battle of the one-shot

1 Goblin Tribe Leader (a Hobgoblin – CR ½), 1 Goblin Champion (a non-undead Zombie – CR ¼), 3 Goblins (CR ¼), 4 Goblin Rabble (stats as  Bandits) (CR 1/8)

Nine opponents make this fight challenging, and the Rabble/Bandits and the Champion can get between the big boss and the goblins who can pick players off with missile weapons – while the bandits will be quickly dealt with, this will pace the fight so that they still have to face the main opponents – the leader and the champion.

So, now that we’ve looked at building our opposition, the next post will deal with locating this in the session – both in terms of plotting, and in terms of the actual physical battlefield.

Prep Techniques: Three Places

Last time in this series, I talked about using 5-Room Dungeons to structure your sessions or one-shots. Today, I’m going to discuss something I’m calling 3 Places. I first read about this on The Alexandrian’s blog about Node-Based design, and it is also featured in a lot of Free League’s scenario advice for Tales from the Loop and Vaesen. I used it myself in The Goblins and the Pie Shop, my reimagining of the orc and pie “scenario” for 1st level D&D.

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This structure gives limited autonomy to the players while making prep manageable, and works well for investigative games where you want the players to uncover a mystery or secret before a final confrontation. It works less well if you’ve got a more straightforwardly linear plot in mind, or if you want the players to encounter set pieces in order.

Overview

In this structure, the PCs are investigating an area – a town, a wilderness region, even a dungeon – which has three key places relevant to the scenario. They can explore 1, 2, or all 3 of these to lead to a final confrontation.

Each of the three places contains clues not only to the final confrontation, but also to the other two places. At the start of the session, an inciting incident (an action scene) will point them towards one or more of these places. They can then be explored in whatever order the players want, before finally hitting the final confrontation.

In general, the more information they gather from the three places, the better an idea they have what’s going on and how to tackle it – but don’t worry too much about encouraging or planning for this. They might decide to explore all three, or after one or two they might decide they know enough to move to the finale.

Example

Let’s start with a classic fantasy example, and one that isn’t always easy to translate to play – a beast is stalking the farms hereabouts, and the players are asked to investigate it. I’m thinking a dire wolf or hell-touched bear or something, and I’ve decided it’s going to be normally immume to normal weapons – so that nearby inhabitants can’t just raise a militia to flush it out.

Inciting Incident – the players are ambushed by desperate bandits (a training fight – a way to learn the system while they are easily despatched). When questioned, they are trappers from the forest who’ve had to resort to banditry because a beast now stalks their lands. Their camp was attacked head-on by it, and they worry their wounded are still there in hiding – the abandoned trappers camp location. When they proceed to the nearest village, they are asked to investigate the beast – there is a old wise woman in the forest who might be able to help locate it

Place 1 – At the abandoned trappers camp they find desperate, wounded trappers who – once found in their hiding place, and suitably healed – can tell them the beast came out of nowhere, and they can find tracks leading to the perilous caves where it (presumably) lairs. The signs of its attack are all around – including a tree nearby where it rubbed some of its fur off, which glistens grey in the sunlight. Their weapons and arrows did not seem to harm it – maybe the old wise woman could help prepare a blessing?

Place 2 – At the old wise woman’s hut, they must first convince the suspicious hermit they mean her no harm. She will augur the ways of the forest, and identify the beast – a vast wolf, impervious to wood and steel. She can produce an ungeant meaning they can harm it, but she’ll need some of its fur. She can see it in the perilous caves as well and direct the PCs towards there.

Place 3 – At the perilous caves, they can sneak in and find enough fur to make the ungeant, but the area is guarded by lesson wolves who they must drive off.

Finale – Armed with the ungeant, they can track and ambush the beast – either in the perilous caves, or by laying a trap for it where they know it stalks. Although now they can injure it, it will still be a challenging fight to defeat the beast.

Notice that any of the three places can lead to any others, and that they players can take multiple routes through it. There are a few core clues – that its not able to be hurt by normal weapons, and that its fur can be used to make the ungeant – but these can be discovered in a few different ways.

Advantages of This Approach

One of the big advantages of this approach is that you can modify the pace to suit your time slot. Particularly in a convention game, this is really useful – I’ve blogged before about having a collapsible dungeon, but it’s even easier if you have these key places. It also makes setting an adventure in a city or town much easier – in the Goblins and the Pie Shop, the PCs wander between the town, the pie shop, and the forest pretty much at will – which is especially useful in a low-level scenario where one bad fight can knock some players out a bit.

I find this approach relatively easy to adjust on the fly, as well. If the players spend much longer than expected at the trappers camp, it’s easy to make the wise woman more helpful and volunteer her information sooner. If they show now interest at all in the wise woman, you can share the info about needing the ungeant from one of the trappers – or even have the beast attack, and show them they can’t harm it.

Things to Consider

It’s generally a good idea to have something exciting to do at each of the locations – either a fight, a social scene, or skill challenge / exploration (with skill checks and twists ready if they fail). In the example above, there’s one of each of these at each location. The wolf guardians are a floating encounter that can be dropped in wherever needed if the PCs need slowing down or reminding of the danger of the situation – likewise, having some genre-appropriate “men with guns” to appear if the pace is slowing is a good idea.

You also need to provide some motivation and time pressure for this. Whether this is by an actual countdown of what will happen if they dawdle, or just an obvious implication – that the beast will continue to attack cattle, and eventually the village itself – this will provide the motivation to decide quickly which locations to go to.

For more ideas, the whole of the Alexandrian’s node-based design posts are the foundational work on this. Have you used a similar technique to plot out adventures? Look out for more Prep Techniques later in June!

Prep Techniques: The 5-Room Non-Dungeon

In this series, I’m going to be looking at ways to get started when prepping a one-shot – although, as I talk about here, I use pretty much the same techniques for prepping sessions of ongoing games. Some of these will be my own ideas, some of these are references to other people’s stuff, and some are reviews of products.

Since you’re here, I should point out that you could have read this a week earlier if you were one of my Patreons – you can subscribe here, and for a trifling fee of £2 a month you get access to blog posts a week before they appear on the blog, the option to request topics for posts, the chance to play in one-shots online with me, and the warm glow of satisfaction of helping keep this blog alive.

To start with, we’re going to look at the 5-Room Dungeon. Created by Johnn Four at roleplayingtips, you can find an overview and some great examples of it here. To summarise, your ‘dungeon’ has 5 rooms – in sequence, as below

  • Room One: Entrance and Guardian
  • Room Two: Puzzle or Roleplaying Challenge
  • Room Three: Trick or Setback
  • Room Four: Climax, Big Battle or Conflict
  • Room Five: Reward, Revelation or Plot Twist

I don’t intend to spend any time talking about each of these stages here – the link above goes into detail far better than I could. Instead I’m going to discuss the pros and cons of the structure, and my own hack of it that I often use prepping sessions.

Pros and Cons

The 5 Room Dungeon is about the exact right length for a single session; it keeps your prep focussed and compact and helps you to avoid throwing in additional time-wasting encounters or scenes. It’s also easy to translate into lots of other settings apart from the dungeon – more on that later. It gives a good balance of combat and role-playing. And it’s a great starting point – using this as a basic structure, it’s easy to add bits to it (even optional bits to give you flexibility with pacing) or move things around; between Room 1 and Room 4 you can kind of do what you want.It does have some limitations for me. I’m not a huge fan of the “Trick or Setback” room without giving PCs a chance to avoid or overcome it, and I don’t think Room Five really needs its own room – certainly, in a one-shot, an end-of-game Plot Twist is a bit weak. And, I don’t think it works very well for dungeons. Anything else, it’s a solid structure, but I think dungeon design is its own thing (I’ve blogged in the past about it briefly) and deserves more than this linear-ish structure. So, I’ve hacked it a bit to the structure below

The Five-Room Non-Dungeon

Scene One: Inciting Incident or Action (skill checks, challenges, or combat)

Scenes Two – Four

– A Combat scene

– A Roleplaying scene

– A Skills-based scene

Scene Five: The Finale

Scenes two-four can happen in a pre-determined order, have options for the players to pursue in whatever order they want, or can be left for you to decide the order during play based on what it looks like the players need.

The 5-Room Non-Dungeon In “Flowchart” Form

In more detail

In scene one, you start the session off with action. Even if later on they’ll be asked to save the  village / explore the caves / hunt the werewolf, you want to begin the game with the dice rolling and players getting to grips with the rules. A bandit attack is the go-to old fantasy trope, but it’s a good way to start – give the bandits some clues as to the looming threat, or at least some link to the rest of the adventure, and it’s a great way to hook the players into the plot.Scenes Two-Four should show a range of challenges as your setting or system supports. The roleplaying scene is the only one that might be system-free – and is contrasted with the “Roleplaying Challenge” from above – it might be a friendly character you discover, or a monster that can be charmed or talked into helping them.

To really make these scenes sing, think about an alternative approach for each of them – and be flexible for the players taking this approach. Maybe the thieves’ guild ambush, that you’d imagined as a combat scene, could be tricked into leaving them alone (maybe some good roleplaying ideas with or without a skill roll), or maybe they can bypass the corridor of traps (planned as a skills scene) by getting the goblins to help disarm them.

Scene Five is probably a fight. Have stuff going on in the environment and a good mix of big bads, lieutenants, and mook opponents to make it a satisfying scene, and make it as challenging as your group’s tastes are. For my D&D5e preferences, this is a touch above what it says in the DMG for “Hard” – although if you’re running a one-shot and the players clearly know what they’re doing in terms of system mastery you could go higher.

Examples

If you want an example of the 5-Room Dungeon, apart from those on the roleplayingtips website, there’s Tower of the Stirge on this blog. This is a bit between the two approaches – and ‘cleverly’ disguises its linear plot by setting it in a tower. I’ve got another post lined up with a couple of examples of this structure – but as I haven’t run them yet, I’ll have to keep them behind the wall in case my player’s see them!Have you used the 5-Room Dungeon format successfully? Anything you’ve found that works well or poorly about it? Feel free to comment below – or suggest any prep problems or techniques you’d like to see explored in future.

“You Don’t Notice Anything.” – Why Perception is Rubbish, and How To Make It Better

Over on his blog, @vinegarymink has posted about Failing Forward – ensuring that failed challenges are just as fun as successful ones. Half way through playing a game of Pendragon (played ‘straight’ and devoid of indie pretentions – and a fantastic game, don’t get me wrong) this week, a realisation came to me somewhere around our fifth Awareness check. Perception is a bit rubbish. It’s a ubiquitous skill in all trad systems, and one of the hardest to “fail forward” with. It’s usually quite hard to fail at all with it, which is why I think it often leaves me frustrated as a GM. I’m going to go through some of the issues with it, and then suggest some hacks that can overcome them.

Awareness 15: the essential Knightly skill
  • If it’s something the group could notice, only one player needs to notice, and they tell the others. Having everyone roll makes a group perception check trivially easy – the probabilities of just one person having to pass make them super generous. If you’ve got a 50% chance to pass the check, with the 4 players you’ve got a whopping 94% chance of at least somebody noticing – and with something harder, with a 25% chance to notice, its still at 68%.
  • Failure is usually crap. “You don’t notice anything” creates a disconnect, because by asking for the roll, the player most certainly knows there’s something to notice. D&D5e tries to solve that with Passive Perception scores, but that’s crap too – bounded accuracy means that they have a really tight range, and they concentrate the first problem – the cleric’s going to notice and tell everyone.
  • Clue restriction is rubbish. If there’s something to notice, we should want our players to notice it. When you’re negotiating with the Romulan Captain, I want my players to notice that she’s stalling for time – and even if they fail, because of the point above they know there’s something off about her.

So, how can we fix that? Here’s a few techniques.

Have Failure Consequences, or Don’t Roll

For every Perception check you call, have a clear idea of a non-restrictive consequence of failure. This is good advice for every skill check – see Alex’s blog post for more ideas – but especially important for Perception, because its failure consequences are so often not-fun. If you can’t think of a consequence for failure – don’t call for the check, and just tell them.

Have Success Benefits, or Don’t Roll

Equally, instead of just telling the players if you have a Perception check you can’t think of a cool failure condition, give them a benefit for passing instead. Maybe you accept that everyone is going to notice the bandits planning to ambush you – but if you make the check, you know which of them has decent armour under his grimy cloak, or also see the hidden archers in the trees covering the road, or you see a weak spot in the wyvern’s hide from a previous skirmish (maybe enough to make a called shot bypass some of it’s armour).

You Can’t Roll if You’re Talking/Acting

One way around the group check problem is to suggest that if you are taking action, you’re not as able to notice stuff. The players who aren’t active in the scene are the only ones that get to roll. This makes the check have closer to normal probabilities, and has the additional benefit of sharing the spotlight in a cool in-game way. Just ask any players who aren’t directly interacting with the events in play to make, as they hang back and observe.

Use it For Initiative

One of the issues with Perception checks to notice enemies trying to ambush you is that the consequences of a surprise round in most games can be enormous (notably, 13th Age avoids this, making them just inconvenient –but not entirely unbalancing). Instead, make Initiative the result of a Perception check in these circumstances. Maybe the ambushers get to roll Stealth instead, as well, for their score? There’s another blog post in my head about how initiative is also often rubbish, though, so I might come back to this.

Use it To Bank Resources

I’m running Star Trek Adventures, the 2d20 game from Modiphius at the moment, and it is (like Conan, which I posted about here) heavy on resource management. Players want to get as much Group Momentum banked early in the session, so they can spend it on extra dice for checks. The best way to get this in STA at the start of the session? Scan the planet from the ship. It’s probably low difficulty, so you can get some Momentum banked for future skill checks. In some ways, this is like designating a Success Benefit, but it fits nicely into the balance of the system. It’s accepted that there will be some easy skill checks, often for things like noticing stuff, but they have some game impact through the meta-currency of the system.

Likewise, in Fate, you can offer a Fate Point Compel to miss something – to not even make a check, and have a failure consequence ready for them. In my experience, most players will do anything for a Fate point, and it’s very likely they’ll have an Aspect you can use to get this. Other systems will have their own solutions, I’m sure.

Just Ditch It

One way to force yourself out of the habit of asking for Perception checks – just remove the skill. If it’s important enough that the players need to notice something, tell them. If it’s one of the few circumstances where failure or success can be interesting, just pick another skill relevant to the context. Ambush in the Forest? Roll Nature to notice the absence of usual sounds. Trap in an ancient tomb? Sounds like a History check, or maybe a Thieves’ Tools check to notice and disarm in one roll before it triggers.

So, a selection of ways to hack perception to make it less rubbish. Are there any more techniques that you’ve used to improve it? Any games that do it particularly well? Let me know in the comments, or get me on twitter @milnermaths.

Do This, First – 5 ways to improve your one-shot during prep

In this post, I gave 5 things to do while running your one-shot to improve it. In this post, I’m going to give 5 tips to do before you play – during your prep, whether its for a convention, meetup, or just as a change of pace from your usual game. I’ve posted before about prep, where I tried to split it into three stages – the advice sits around all these stages, and is applicable if you’re taking a different approach.

Start With Pregens

Thugs by Jonny Gray

An evocative group of pregens can really make your game pop – art by Jonny Gray

Early on in your prep, if it’s a new game in particular, you should be thinking about the characters you’ll have in the game. If this is your first time with the system, you can use this to get your head around the rules as well – character generation usually gives some indication of what different skills and approaches are, and it’ll help when you come to plot out your game.

I wrote more about pregens here, if you want more advice on making strong pregenerated characters.

Get The Rules Right

If I’m running a game for the first time, for all but the simplest games I like to do a one-sheet of notes of the basic rules, just to help me internalize them. Running a one-shot, you’ll usually have to do some teaching of the rules unless you’re running a really popular game, so you need to know them well enough to explain them to your group. Making notes really helps.

If it’s a particularly complex game, I’ll often run myself through a mock-up conflict as well, just to familiarize myself with how combat (especially) flows. I’ll take two or three of the pregens I’ve just made, and try to run them through a quick battle to internalise the structure of actions.

Also, see here for more notes on running crunchy games.

Structure Your Notes

I’ve said it before, looking at published adventures for sample structures for one-shots isn’t a good idea. Preparing a game for publication and preparing it for play are two different things – in fact if I’m running a published adventure I’ll usually write down some bullet points even if I’m going to have the text in front of me.

I talked about a structure for notes here which I know some others have found useful, but really it’s as much as this

  • Have a well-prepared start and (potential) climax
  • Have a list of cool things that can happen between them
  • Have a list of NPCs with any brief notes you’ll need to differentiate them.

The last one is vital for me. I tend to lose track of NPCs when I’m running, and so I over-prep to make sure I know where they are and what their relationship to the plot is.

Check for Skill Matching

Nobody wants to play a game where their character sucks, so first of all, make sure that every pregen is at least broadly competent at the core activity of the adventure. In a Call of Cthulhu game, none of your pregens should have no ways to investigate and follow up leads, and in an F20 game it’s taken as read that everyone can fight well.

But look a bit closer at the secondary skills that your PCs have, and see if there are opportunities to put them into the game. Likewise, look at the challenges you’ve put into each scene and see if there’s an obvious pregen that can show their skills off in that challenge – you can adjust in either direction to help.

I posted about this – the “three-skill trick” here in more detail.

Check for Plot Matching

For one-shots, I’m a huge fan of having a heavy incentive on following the plot for the whole group, but look to make threads that tie individual pregens into the adventure as well. The fighter’s parents were kidnapped when they were a child? Make it the evil baron who did it, so when they meet him in the finale they’ve got a hook to hang on. A pregen has a long-lost sister? Make them a helpful  NPC they’ll meet along the way – or the evil sorceress serving the aforementioned baron.

As with skill matching, this can be done in either direction – but try to find a thread to link each pregen to the plot so that they get a good chance to advance their own personal story as well as that of the game. This helps to ground them in the setting, so things happen before and after the game, and make the one-shot feel more like a slice of something bigger.

Think and Dream

Alongside the 5 tips above, there’s the core activity of prep – thinking of scenes and challenges that make for an exciting game. Give yourself time to think of these – prep can just as well be done in the shower or while out running as you dream and percolate ideas in your head – just remember to write them down before you forget them!

With these, you’ve got a good chance at making any one-shot really sing. If you want tips to do during play, see this post. If you want to listen to me talking about some of these techniques, I was on the Smart Party podcast talking to Gaz about one-shots here.

I’m going to be doing some more system-specific posts over the next few weeks – as always, if there’s something you’d like to see more (or less) of, get in touch in comments here or on twitter (@milnermaths).

What Year Is It? – Running Historical RPG One-Shots

1066 calendar

1066 calendar from timeanddate.com – I’d maybe run it through Photoshop before using it in a game

Historical one-shots are something I’ve historically (ha) avoided playing (and running) at conventions. Too much risk of experts, or historical diversions, or putting accuracy ahead of fun. But recently (inspired by an excellent Mythic Babylon game from @thetweedmeister) I’ve begun dipping my toe into them again, helped by the realisation that Glorantha is to all intents and purposes a historical setting given the wealth of detail about its timeline.

 

I think at the outset I should say that historical gaming should emulate historical fiction, not actual history. History, inconveniently, doesn’t even fit into the pattern of an ongoing RPG campaign, much less a one-shot. It helps to think of each session as a TV series episode, with a tightly-defined arc in its 3-4 hour time-frame. Where historical games help with one-shots is that they can set your one-shot in something bigger – there’s stuff happening before and after the game, and it’s easy to see where the characters and plots go next when the game is over.

And while we’re on the subject, think carefully about how to handle the more problematic elements of historical settings. If you want to include the sexism, racism or homophobia of a historical setting in your game, I guess that’s your business, but please don’t do it anywhere near my table. Most historical periods were much more diverse and varied than some corners of the RPG hobby would have you believe, anyway.

Do Your – Minimum – Research

In no way do you need to be the smartest person in the room, but at a convention or other one-shot, if you know nothing about the period of history your game is set in, you’re going to come undone at some point. You are probably going to have to read the sourcebook before play – in a way that you probably don’t have to if you’re running a game in a fantastical setting.

Before getting too far into research, remember you really do only need broad brush strokes. Also, research doesn’t just mean boring old books. There are history podcasts you can listen to while doing other things, and TV series are often better for a feel of historical fiction than actual history. If you’re going to run Duty & Honour, watching a few episodes of Sharpe will help you much more than reading accounts of the Peninsula War. If you want to run Hunters of Alexandria, you’d do as well to play some Assassin’s Creed: Origins to get a feel for the city and its opportunities for adventure.

Additionally, it probably helps to own your inaccuracies – check at the start of the game if you have any period experts in (it’s likely you could have, if you’ve advertised the game for sign-ups at a con) and ask them to add flavour/colour, but not to go on historical divergences until after the game. I’ve heard of using an H-Card (as well as an X-Card) for historical off-game chat, which is an interesting idea – you need to remember that the game is the primary thing, not the history lesson.

Pick Your Game For The Genre You Want

There are lots of historical RPGs out there – make sure you pick a game where the system supports the kind of play you want. If you want to run a one-shot in the Dark Ages, then Age of Arthur, Mythic Britain, and Wolves of God will all give very different play experiences, even with the same basic scenario. There’s nothing to stop you, of course, using a generic system with a play style you enjoy, and adapting it – and there are some excellent historical setting books, the pick of which are the GURPS sourcebooks and Design Mechanism’s Mythic Earth series. Dark Ages Savage Worlds, anyone?

Points of Divergence

If you’re running a historical game on Earth, you probably do need to know what year it is. Those enormous timelines that setting books have – pick a year and find something interesting that the PCs can act around.

Think of this point as a point of divergence. Before that, history was as it is in the timeline described – scholars today would recognize the world. From the moment that play starts, though, that needs to change. Put the PCs right in the center of the action – they might not be working directly for the King or leading the armies, but their actions will certainly affect the outcomes of these events, and might leave the world looking very different.

Don’t Spectate

Along similar lines, the PCs should be actively doing things. Nobody wants to watch the pyramids being built – the PCs should be negotiating with laborers and work-gangs, protecting the site from evil spirits, and dealing with betrayal and uprisings. If the pyramids are already there, they should be dueling bandits on the slopes, or heading into the tombs to work out what has escaped from them and whether it needs banishing.

It can be tempting to site the one-shot a long way from recorded history, to protect the timeline, but I tend to think that if you’re running history you should put some history in it. So don’t be afraid to introduce historical figures (and don’t give them any plot protection – let your PCs kill Caesar and win the hand of the princess – just not in the same game).

With all that in mind, I’m thinking of stretching my games out into the historical waters for some of my one-shot offerings now. Thanks to everyone on Twitter who offered their advice on this, by the way – you’ll be first in line when I get some online one-shot offerings prepped up!

Pregen Power Levels

In this post I’m going to talk about how powerful your one-shot pregens should be. Designing pregens is often the first step to prepping a one-shot, and definitely needs to be done before your prep is finished (and then you can check there are relevant challenges for each PC to allow for spotlight spread), and it’s tempting to just throw together characters following the rules in the book – standard starting characters. This is sometimes the best case, but sometimes it’s worth beefing up your characters a bit.

This is obviously a topic that varies a lot from system to system, so I’m going to look at a few in turn.

D&D / 13th Age / F20 games

If you’re running a game for players that are completely new to TTRPGs, and you want to keep things simple (and you should) – start at 1st level. D&D 1st level pregens can be a bit squishy, so you might consider either making them 2nd level (which really are no more powerful apart from the extra hp and a few more spell slots) or even just giving them the 2nd level hit point boost. This is something I’d particularly recommend if you’re running for players who might not be too keen on their PCs being knocked out.

Of course, instead of beefing them up you might be tempted to knock down the opposition – but I’d caution against this. For one thing, several of the support roles in D&D are really unsatisfying if there isn’t proper opposition – I can remember playing a Life Cleric in a one-shot and being a bit disappointed that I didn’t get to use my awesome healing powers.

If you’ve got some experienced players, but still want to keep it straightforward, 3rd or 4th level is the way to go. At this point, there’s a bump in complexity that gives PCs a plethora of options in D&D (in 13th Age they have these options pretty much from 1st level), and a lot of scope for niche protection; two 3rd level human fighters can play very differently at the table depending on design choice.

If you want superhero-style high fantasy, you can use the Fireball Cutoff. This rule (which I’ve just invented) states that at the point where PCs acquire the spell Fireball, that’s when they become high fantasy superheroes instead of hardscrabble spelunkers. This happens in most F20 games at a lowly 5th level – from that point on, expect your players to be big damn heroes. Weirdly, this happens in almost every level-based fantasy game – it stands in D&D, 13th Age, Shadow of the Demon Lord. In other systems, feel free to locate Fireball in the spell list and work out where this level is

At this level or above, even if you’ve got experienced players, I’d recommend allowing them to use average damage for effects that require rolling a lot of dice (especially in 13th Age, where this is every weapon and spell attack) – if a player is going to take some time to add up the result of 6d10+12 it’s going to be boring for the rest of the table, and dull for them, so offer this as an option in advance. At the very least, have plenty of dice so they aren’t trying to roll their own single d10 six times. If you want more swing, just let players flip a coin for max/min damage – I’ve used this effectively in a 5th level 13th Age one-shot.

Fate / PBTA

In these games, generally the pregen they start with is fine. The one adjustment I like to make in PBTA games is give everyone two or three XP ticks, just so it’s very likely they’ll get an advance in the first couple of hours of play – giving them a chance to see their character grow during the game.

For Fate, the equivalent I’d recommend is leaving one or two aspects blank, and even (if Fate Core) a few mid-range skills. Players can fill these in before, or during, the game to allow a bit of input into their character. It’s possible to run Fate Core doing character generation entirely in-game, based on just a high concept aspect, but this is a bit of a risk unless you know your players will be up for this and won’t spend ages paralysed by decisions.

I’ve written in more detail about Forged in the Dark games like Blades here, but in general I’d resist boosting any of their starting abilities, tempting though it may be. It’s more enjoyable for PCs to fumble through a heist or job, as failure will drive more problems their way, than to have them patch everything up with some die rolls – this also makes them spend stress and have something to do in the Downtime phase. A similar approach works for Mouse Guard – don’t be afraid to force some of the Guardmice to roll skills they might not have – this forces them to tap Nature and risk it dropping, and work together even more. In these teamwork-driven games, niche protection is vital, so you need to be careful to not make the PCs able to succeed individually.

Cypher

Cypher (the system behind Numenera and The Strange, amongst other excellent setting books) is a really rules-light system that focuses a bit more on resource management than the rest of the ones discussed here – and boils most things down to a single d20 roll.

For Cypher, I’d recommend Tier 2 characters as a minimum, and I wouldn’t be afraid of Tier 3 or 4. As Cypher PCs advance, they don’t particularly get much more powerful – they just gain additional options to use. At Tier 1, their options are generally pretty limited – it’s only at higher tiers that the really cool Foci abilties kick in, and while the PCs get more badass, they don’t become anywhere near invincible. This is great in a campaign where they can watch their options grow, but in a one-shot they might as well have these options earlier. I’d also recommend using my hack for experience in Cypher games in one-shots, to avoid the spend-or-hoard XP mechanics.

Balancing Opposition

This is a big generalisation across the systems, but I prefer to beef up opposition beyond what it says in the book for low-level PCs, and taper this off as they get higher level. At low levels, you need challenges to be genuine challenges, and resource-depletion fights that are the bread-and-butter combat encounters of longer-term F20 games are generally unsatisfying. Mix it up, too – as here, it’s an idea to start off with a really underpowered fight as a training level for the players, but do what you can to make the difficulty ramp up through the one-shot to the climax.

If you’ve every played D&D or Pathfinder in a campaign, you’ll have realised that by 3rd level – if the group has stayed pretty consistent – your party has usually evolved into an efficient combat unit because you have some awareness of what other PCs abilities do. As you play through encounters, you become adept at knowing when to rage, when to hang back, how many heals your cleric has left, that sort of thing. In a one-shot, this knowledge is unlikely to develop in 3 hours, and it can make a massive difference to a party’s effectiveness.

So be prepared to tone it down and have some flexibility with challenges – this can include having terrain features that may or may not come into play, reinforcements that might or might not come, or even some killer tactics that might not be used, depending on how ruthless your players are being.

What are your tips for balancing pregens and encounters? Are there any other systems you’d like to see discussed?

This was meant to be the final post of 2019, but it’s ended up creeping out after a rewrite in 2020. So, if you can imagine this came out last year, thank you so much for your continued support and digestion of my words. In the last two years Burn After Running has grown into almost a ‘real blog,’ and as always I love to hear suggestions for what games to cover or review, new kinds of articles, and what you’d like more or less of. Catch me on twitter @milnermaths or comment below.

Day of the Octopus: Unpacking the One-Shot

MSH image

Day of the Octopus is the starter adventure included with Marvel Super Heroes basic set, first published in 1984. It’s a straightforward adventure that I remember liking when I first picked up Marvel (considerably later than 1984!), and it still stands up well. It’s got some lessons in it for prepping a one-shot, especially for convention play, and I think it bears a closer look. It’s also available as a download on the Classic Marvel Forever website, if you want to give it a closer look.

Specifically, it does a few things well

  • it demonstrates the expectations and structure of play
  • it’s designed to teach the rules as it goes
  • it gives a solid approximation to a dramatic arc

There’s a few things it does… less well, I guess

  • it’s almost entirely linear. There’s one branching point, but that’s only if the PCs get captured
  • it’s dramatic scenes all resolve around combat – even one where combat really isn’t the actual resolution still looks very combat-y to the players

Overview

It’s designed with specific heroes in mind – Spider-Man, The Thing, and Captains Marvel and America. In the first scene (or Chapter as they’re called in the adventure) this is important, as they start interacting with their day-to-day lives – Peter Parker is with Aunt May, The Thing is sulking in the park, Captain America is with his “gal.” It also demonstrates the classic superhero team structure in RPGs – that although the heroes are normally arranged into specific teams in the comics, in the game they can form a team of whatever heroes the players want to play.

It’s a 1984 adventure, so there’s boxed text – but it’s pretty decent boxed text though – no need to describe dungeon rooms makes it flow easily. Each chapter also starts with a short comic strip, where we see the start of the action, which is a nice touch – I particularly like the investigative scene where The Thing is a deerstalker, especially because it makes him look a bit like Bungle from Rainbow.

It’s designed to be used with the maps supplied – this book came in a boxed set, of course, and there’s a fair amount of tactical faffing about where to place various PCs and their opponents that was probably a lot more important back in the day than it is now. Maps for superhero games leave me cold – especially when there’s two characters that have fairly limited movement alongside two with massively fast movement – can’t Captain Marvel travel at the speed of light? Why does she need a map?

Structure

Overall, the plot looks like this:

day of the octopus structure1357830321..jpg

In Chapter 1, the PCs start separately, while still on the same map, and face one or two Thugs (normal humans) each. These are trivially easy fights, and this chapter shows up as a nice little training mission. In my one-shots I often have an easy fight as the first scene, and this approach (having a really, really easy fight)is something that I’d like to try. I’d expect both encounters to only take a round or so, so it’s a good stakes-free way to teach the basic rules.

No sooner are the thugs dealt with, Chapter 2 starts, where some actual supervillains (one per hero – another superhero RPG trope – and somewhat randomly assembled) appear and try to steal the same tech. It’s expected that they’ll be thwarted, and a Dr Octopus arm will get the tech anyway, but this is the first real fight of the adventure. It has detailed notes for how the villains will fight, which is a thing we don’t often see enough of these days I think – even if Radioactive Man’s first action is to blow a hole underneath The Thing so that he has to spend three turns climbing out, which feels a little bit mean on that player.

CSI: Marvel Super Heroes

In Chapter 3, they do some investigating, which is snappy and has multiple routes and ways of finding their way to Dr Ock’s hideout. There’s three places they can go to pick up clues – the site of the battle, the rental company they got the truck from, and a dive bar on the waterfront. It’s expected they’ll go through these places in order – if I was running this I’d add multiple clues to each location so they didn’t have to go to all three (or could split up), but it’s still presented as a pretty pacy segment, and isn’t reliant on dice rolls to move the plot forwards.

Chapter 4 is the hideout itself, where they fight Dr Octopus, any remaining supervillains from the previous battle, and several environmental effects. This is definitely mean to potentially be a tough one, as Chapter 5 is what happens if they lose, and begins with each hero being captured individually and them needing to escape.

Chapter 6 is the final scene, when they try to stop a gigantic Octobot as it rampages through New York. This fight is almost unwinnable, but it’s also much more of a problem solving challenge – the robot isn’t something they can take on directly, so they need to try and disable it using trickery. In game terms, this is almost a skill challenge compare to the fights beforehand – which is also a nice way to mix it up.

Unpacking the Plot

So, the structure looks roughly like the diagram above. We have 4 core scenes – a training level, a normal challenge scene, and two hard challenge scenes, with two of those being fights and one being more of a skill challenge. There’s a few different ways to move between what is basically a linear plot structure, and there’s a safety net in case they don’t get any further.

The safety net is a bit weak though – it’s Thor – who can either swoop in and save the day in a fight, or just tell them clues if they miss them. I don’t think there’s anything wrong with this kind of contingency plan in a one-shot, but I prefer some immediate, tangible consequences to a failed scene – maybe Thor does offer the details of Dr Octopus’ hideout, but that means they have time to prepare themselves and the next fight will be tougher, or the robot starts rampaging sooner.

20191225_1515021068067650.jpg

For me, I like to have the final climax be a big, challenging battle (this also removes the need for a “contingency Thor” for that scene) and make the skill challenge be the middle scene. For skill challenge, it could be something different to an actual fight, but I think it needs to be an extended task that is supported by the system – in Fate this could be a Contest or a Cliffhanger (from Masters of Umdaar), it could be a Chase scene in Savage Worlds or Call of Cthulhu, a starship combat in a sci fi game, or a social conflict in a system which supports this. In all cases, it’s worth hanging some proper stakes on the scene, so it has tangible consequences to the folowing scenes.

I really like the first scene of this adventure – by introducing the players individually, and giving them a small interaction with the rules, they set up a low-stakes way of teaching both roleplaying and the basics of the rules. I’ve done this with individual skill checks before now, but not with really weak opponents, and I’d like to try it out with that – either with the heroes as individuals or with them together teaming up against a small obstacle.

I’ll definitely be re-skinning this structure and trying out some of the ideas here, and I’ll post on here and twitter about how it goes. I’m going to pull out some other ‘classic’ one-shots and do a similar unpacking of them – what should I look at next?

Sting of the Scorpion Men – a 13th Age Glorantha One-Shot

13th Age GloranthaI’ve run this one-shot, for 4th level PCs, twice now, at UK Games Expo and at BurritoCon, and it’s been a lot of fun both times. I’m not going to claim it’s the most original plot structure going, but the combination of two of Glorantha’s iconic (but less-known than Broo) Chaos beasts, Gorps and Scorpion Men, make it a lot of fun.

One note – these aren’t the same stats for Gagix Two-Barb as are included from p422 of the 13G book – she’s not got 1000 hp. If this bothers your Gloranthan versimilitude, maybe this is a Chaos body-double for Gagix, or rule that she’s weakened by the Stone Chair Man’s enchantments.

Pregenerated characters are here, if you want. The Praxian Bison Rider uses the optional Mounted Combat rules from 13th Age Monthly that you can find here. All of them have 3 of their Background points spent, with the others to be allocated as they please.

Want a 1st level 13G one-shot? My re-imagining of Gringle’s Pawnshop is here.

Sting of the Scorpion Men

A 4th level 13G adventure

Introduction

An unprovoked attack on an isolated village tells you that the poisoned Earth around Larnste’s Footprint is rising up. You will have to travel through the Fossil Woods, and evade the Chaos beasts therein, to steal Gagix Two-Barb’s sting!

The PCs begin as established adventurers – they may be Rune Lords of their cult by 4th level, and are travelling through the wilderness near the village of Stone Chair after a successful adventure. Once their, an attack by corrupted Earthbeasts leads them to investigate the Stone Chair Man, a guardian spirit, who sends them in Larnste’s Footprint to steal the sting.

If you are inserting this into an ongoing campaign, maybe the characters have been asked to travel to Stone Chair because Venkor and/or Sarooth have forseen that the enchantments that protect the village are fading, or they have dreamed of strange chaos-touched Earthbeasts attacking villagers in the area.

Characters

Sarooth the Wise is the Elder of Stone Chair. He half-expects trouble when welcoming Rune Lords to his village. Every time they come, Chaos seems to follow, and he is weary of the disturbance even as he knows he will need their help.

Venkor the Fair is Sarooth’s daughter, an Ernaldan Earth Priestess who sees to the medical needs of Stone Chair. She hates the village and that she has to stay in it, since the wards that protect it make the population healthy and well, and dreams of a more interesting assignment in Backford or Whitewall.

The Stone Chair Man is a Guardian Spirit of the Woods around Stone Chair – their influence allows the village to continue to prosper. He lives within a huge ancient stone chair in the depths of the Fossil Woods, where his Earth Beasts normally protect him. Since it was overwhelmed by chaos, he his Earth Beasts will not follow his commands, and his altar is overrun with Gorps. He appears as a ten foot tall, stick-thin man made out of stone, and his altar is a large stone chair.

Gagix Two-Barb is a vicious scorpion woman with two stingers at the end of her tail. Ensorcelled by the Stone Chair Man in this adventure, she is less of a threat than on p426 of the core book, but she is still a formidable enemy.

Scene 1 – Earth Shark Attack

The Village of Stone Chair is between Backford and Larnste’s Footprint, and is nestled precariously around the hills above Backford. A tight set of steps leads up to a small square, where preparations are underway for the heroes’ arrival.

  • The trickle of a brook and the smell of cows roasting – “More Cows!” if there is a Troll in the party – and the chatter of villagers
  • They notice Venkor the Fair looking glum, sitting outside the circle, despite Sarooth trying to introduce them
  • They ascend stairs to the flat area of Stone Chair, and can see a winding path leading into the Fossil Forest – “This way lies doom!”

The village square is laid out, a feast is upon them, and everyone is dancing and relaxing, when an earth shark attacks! They notice the earth around Venkor raises up to surround her, and she is carried away on a wave of earth.

An Earth Shark has stats as a bulette from regular 13th Age (stats available on the SRD), a L 5th-lvl wrecker. For 3 players, it is alone. Add one earthbeast (13G p301) per additional player as well.

No. of PCs Opposition
3 1 Earth Shark
4 1 Earth Shark, 1 Earthbeast
5 1 Earth Shark, 2 Earthbeasts
6 1 Earth Shark, 3 Earthbeasts

 

The Earth Shark and Earthbeasts burst out of the very ground beneath them, and damage the foundations of the village – describe the rumbling ground beneath their feet as they fight.

When they recover, Sarooth is beside himself. Not only is village under threat, but Venkor, his daughter, has been carried away. He pleads with the PCs to travel to the Stone Chair Man to see what can be done – he is sure that something must be up with the protective wards that keep the village safe.

Scene 2 – Journey to the Stone Chair Man

They need to travel through the Fossil Woods to speak to the Stone Chair Man, an ancient shaman.

  • The path is well-trodden at first, but gets more loose and overgrown
  • Soon wood and trees begin to show signs of stone, and soon it is like walking down the corridor of a cathedral of stone – the noises quieten, and they can hear nothing but an eerie silence – and the occasional odd squelch
  • Soon a brash, acid scent – not unlike fresh vomit – hits their senses – and an appropriate Background check will reveal that this is a sign of Gorps in the area.
  • The Stone Chair man is in a vast Stone Chair in the centre of a circular clearing – but they can see a huge mass of ooze atop it, tentacles going into and out of the ground as they watch.

They must defeat a Gorp to rescue the Stone Chair Man – for 3-4 players, this is a single Earth-Killer Gorp (13G p265) ; for more PCs, add additional Gorps (13G p264). Use the toxic terrain special feature – when a non-Chaos creature rolls a 1 or 2 they take damage equal to their level.

No. of PCs Opposition
3 1 Earth-Killer Gorp
4 1 Earth-Killer Gorp, plus on the 2nd round an additional 2 Gorp spawn and attack
5 1 Earth-Killer Gorp plus 2 Gorp (from each Arm)
6 1 Earth-Killer Gorp plus 2 Gorp (from each Arm)

 

Scene 3 – Speaking to the Stone Chair Man

Once the Gorp are defeated and the Stone Chair Man awakens, he tells them of a curse on the Fossil Woods, that the natural order of things has broken down and the Foulblood Forest has infested them. He tells them that the source of the infection is deep within Larnste’s footprint, and the Scorpionmen leader Gagix must be behind this. He tells them that the only way he can lift the curse is by hitting Gagix where it hurts – and asks that they bring him the sting from the end of one of her scorpion tails. With this in his possession, he can cure the poison that is infecting the Fossil Woods and the village. He can help them, too – he can use his magics to send the scorpion men into a deep sleep, which should allow the PCs to creep up on them.

He pleads with them to go, and if they agree, they feel a shifting in their perceptions as they enter the Hero Lands. They can see Larnste’s huge foot in the clouds above – and he bids them set off straight away!

Scene 4 – Into Foulblood Forest

This is a montage scene (explained here, or in the 13th Age GM’s kit), accompanied by the spirit of the Stone Chair man. They emerge eventually into the Scorpion Man ruins, and can find Gagix and her inner circle of guards at the top of a ziggurat in the centre of the scorpion men city. Stealing the sting will be easy – but it will wake up her and her guards, if not the entire city!

The initial scene (for the GM to narrate) is that the Fossil Woods end abruptly, at the edge of Larnste’s footprint – with a sheer cliff leading into fogged grasslands below. You think you can just make off the towers of the Scorpion Man towns in the distance, but there are no ways down the cliff as far as you can see – what little goat tracks you can see disappear into the distance.

As the final scene, have the players sneak into the city, which is crawling with scorpion men. Resolve the final obstacle by seeing the Stone Chair Man’s face above them, and Larnste’s foot falling, sending all the inhabitants into a deep sleep. They can ascend the steps to the palace and find Gagix softly sleeping.

Scene 5 – Steal the Sting

Within the Scorpion Man Palace:

  • There is a thick aroma of spices and strange meats, and smoke and dust are everywhere. Pools of poison dot the bare sandstone grouns.
  • There is a light snoring all around. Gagix is fast asleep, on either side of her rest her champions.
  • Tied up in cane cages around the scorpionmen are a group of villagers, including Venkar. If the fight is going badly for the PCs, allow Venkar to help – maybe she casts some healing magic on an injured PC, or she summons an Earthbeast to distract one of the Scorpionmen.
  • Assuming the PCs attempt to either kill her or cut off her stinger, she will still awaken, along with her immediate bodyguards. Who else will fight them depends on the opposition table
No. of PCs Opposition
3 Gagix and a ScorpionMan Bruiser
4 Gagix, a Bruiser, and a Warrior
5 Gagix, a Bruiser, and a Shaman
6 Gagix, a Bruiser, a Warrior and a Shaman

 

Gagix is a Scorpion Man Bruiser for the purposes of this fight – except that her ranged attack is the Shaman power. All scorpion men have the nastier specials

The Bruiser is Mesh, and old, aged Scorpionman whith countless scars across his bare torso. The Warrior is Flex, a youth not older than his teens who wears bright red armour. The shaman is a female Scorpionman, who carries a strange glowing staff.

Scene 6 – Return

They can effect their escape and return to Stone Chair with the help of the Stone Chair Man – as the rest of the city awakens and tries to avenge their leader. They return as heroes, the village saved.