Adventure Design - Location, Scenario, Plot

When designing material for play at the table, it is helpful to think about what exactly you are trying to design as that will inform what sort of work you need to prepare before the game. Below I list three distinct (if often related) types of adventure structure.

Location Design

Whether it is a wilderness to explore a dungeon to delve, location-focused design is about setting up a fictional play space with enough things for players to interact with to provide entertainment and enjoyment during the game. This is your standard “sandbox” type of deal. A point-crawl, a hex crawl of some kind, and again, dungeons, all fall into this when they are being made with the primary concern being exploring the fictional space.

Secondary goals might exist such as looking for a specific item or NPC, attempting to do a specific task, or even just getting experience points. However an adventuring Location should work just as well without any objective beyond “this is a place to play in”.

Location-focused adventures can often benefit from having a scenario of some kind set up beforehand, as the two work quite well naturally. A plot of some kind could also be slotted in, of course, but in most cases that will simply overshadow the exploration of the location as a goal in and of itself.

How this differs from Scenarios is that the location does not need to have a specific situation or conflict currently happening as the players enter the picture. It is quite alright for a Location adventure to begin “static” and then react and shift as a result of the actions of the players.

How it differs from a Plot is that a location does not necessarily cares about specific narrative beats happening (either in order, or even at all). If the players do not interact with a specific element of the location, that does not result in bad or subpar gaming experience.

Obvious Example: Here is a dungeon composed of 20 odd keyed rooms. It has numerous enemies, hazards, treasure and obstacles. Some of the enemies form factions and have some kind of broad-strokes predetermined views of other enemies and/or factions, which gives an avenue for the players to engage in picking a side or playing all sides against each other.

Scenario Design

A different type of adventure is setting up a specific situation, outlining clearly the sides involved and their goals and parameters for “success” in the conflict, and going from there.

For me at least this type of design is primarily tied to wargaming (miniature, tabletop or otherwise). Wargaming is about conflict resolution of some kind, and so it benefits from having a scenario which outlines the parameter of the conflict.

An important part of scenario design is that it should depict the conflict already having started, and the players already begin the game by being part of one or multiple sides, and then striving to achieve their side’s goals as best as they can. Once the conflict of the scenario has been resolved, that adventure is now done and concluded - Further scenarios might be devised as logical reactions or responses to the way this first one played out, and stringing a bunch of those in a row is what a lot of wargaming campaigns end up looking like.

How this differs from a Location adventure is that while setting up the field for the conflict is part of establishing parameters, the location and its peculiarities only matter as far as they affect the conflict or scenario in question. It does not matter if over the mountains there exist some other kingdom that has other problems, because that does not directly affect the situation of the two orc tribes battling it out in this valley.

How this differs from Plot is that a scenario might have one outcome or another be more or less likely to occur as a result of the initial setup (in a “doomed last stand” kind of deal, the player or players doing the last stand are generally expected to lose eventually) however it usually does not care for specific outcomes happening or not happening. That contrasts it with a plot-focused adventure, which often needs specific narrative beats to occur so that the plot can progress without having to result to that most dreaded of term “railroading”, in which the referee simply forcibly drags the characters onto the next step of the plot, regardless of whether that makes any sense in the situation or not.

You can’t really railroad a Scenario, because if the conflict already has a 100% certain outcome, then that conflict is not barely gameable, and therefore simply unsuited for being used to prepare a gaming session.

Obvious Example: The party and their allies must defeat an imposing Big Evil Enemy. They know the broad parameters of where that Big Evil Enemy is, and the focus of the game is resolving that conflict one way or another. Once the Big Evil Enemy is defeated, or defeats the players, or any other potential resolution to the conflict has occurred, the scenario is complete and finished.

Plot Design

Plot design is the cornerstone of Trad play, and more often than not the one done very poorly. An inevitable result of it being the most broadly done way of running and playing TTRPGs I suspect.

A key difference is that a “plot” is not a “story”. Any of these types of adventures can result in a story, as the story is simply the actual events of what happened (both within the fiction and at the table). One can not write a story adventure, because that is already complete and there is nothing in there to actually play out. So instead, what you do is write a plot.

Plot adventures are most often formulated as a series of narrative elements or beats, some (or all) of which need to be met so that the players may progress onto the next set of beats. You can't go and question the doctor until you find his card at the scene of the crime (or you hear from a witness that they saw him with the victim. Or you find his name in the victim’s day planner, etc.). The reason you can’t is that the doctor might not even have existed as an element in the game, until you found the narrative beat that lets you know he even exists.

The enjoyment of playing through a plot-focused adventure is trying to find the beats and where they lead, with an ideal one often having twists and turns to the plot that the players do not anticipate, but could have foreseen if paying close attention to what has come before hand, leaving them with a broadly conventional narrative or story after completing the adventure.

How Plot adventures differ from Scenarios is that they tend to not have as clear win or lose states as a scenario would. In a scenario each side participating has very clear goals, and there is rarely much care given to results outside of those already established before play even began. In a Plot-based adventure the outcome from moment to moment is a lot less clearly outlined, and in a well designed plot adventure there should be numerous results or actions which still lead you onto the next plot beat.

As for Locations, Plot tends to not care about the fictional space in which the narrative is set in, beyond the obvious effects it will have on the actual plot. Abandoning the plot that supposedly everyone has agreed to follow through on as part of the gaming session to simply explore some other part of the location is often seen as disruptive behavior in a Plot-focused adventure, whereas it is the entire point of gaming in a Location adventure.

Obvious Example: A mysterious crime has taken place, and the players take on the roles of investigators trying to uncover what has occurred, and separate truth from lies. Numerous plot points involving questioning suspects, gathering clues and uncovering layers of mysteries eventually lead to a logical conclusion of the plot in which the investigating players confront the perpetrator.

There are, of course, other ways of thinking about how to structure gaming material for play at the table, but to me these three are the major categories that tend to cover most experiences happening in tabletop RPGs.

On Hobby Best Practices - Part 5

 

Series Index
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Part 5 - Practice your actual hobby

I have saved the most blatantly obvious of these posts for last. Yet it feels sometimes like the obviousness of this is not as clear as I or others might think, so it bears stating it out loud.

First off, let me direct you to Weird Writer’s excellent post on the roleplaying hobbies. She breaks things down in an excellent manner, and frankly much better than I ever could. Going by their list, this post will be specifically about participating in the “core hobby”.

To do so first one must define what their core hobby is. In the case of TTRPGs, as that is the primary focus of this series, it can be rather tricky, however for the purposes of this post I will say that playing at a table (in person or virtual one) with other people is the core hobby of playing tabletop RPGs.

That might sound like a hot take, or even “controversial”, but the fact that it does is the same reason it needs saying. Playing tabletop RPGs, with other people, is the core of the TTRPG hobby. Buying books, reading books, writing and preparing adventures, scenarios, locations, sub-systems, magic spell lists, writing session reports, doing solo play, engaging in the community, watching actual plays - all of those are perfectly nice and enjoyable activities, but they are not engaging with your core hobby.

However one can’t become a more engaged and better hobbyist at their chosen hobby by simply nibbling around the edges. I put off writing this post for over a year, because due to various life reasons I was not able to do much of any gaming until the very tail end of 2024, and it felt disingenuous to declare the importance of play as I was not engaging in any myself.

TTRPGs are in a lot of ways a craft and crafts require purposeful, focused practice to become better at. And surely we, as hobbyists, should desire to become better at the thing we love and enjoy doing right?
This was the last planned post in this series. I might add further ones if I feel a specific thing benefits from being highlighted as a best practice. Or even better, I encourage you to contribute to this list yourself! If you do, please share it with me.

Thank you for reading, and go do more hobbying!

Wolves Upon the Coast - Session Reports and Observations, part 2

 

 I've started playing in NBateman's Wolves Upon the Coast campaign being run from the Rainbow/Purple OSR Discord.  I wrote another post already which you can find here. This one is going to cover the events of Sessions 4 and 5 (I did not participate in Session 3) as well as my thoughts on those.

  

Current state of our map.

Session 4 + 5

As stated I did not participate in Session 3, but from what other players told me the party made its way to Jork, met with the local king as well as other characters and Albinus, the Christian scholar/monk in our party ended up going north to fight a giant named Thomas (who apparently keeps kidnapping and murdering musicians), using some poison they acquired along the way.

Session 4 begins with my character Thorgo and a few others going north to see what became of Albinus and the Giant. They arrive to a beach littered with corpses - Albinus, Thomas the Giant and also, rather inexplicably, some 30 odd bandits. Everyone except Albinus has their corpses ripped apart, their guts and innards picked at and missing. The party gathers up what treasure they could from the giant's bag, retrieve Albinus's naked corpse and sail back to Jork, along the way running into some crashed ships and potential drowned ghosts, which are promptly ignored.

In Jork the party spread the word of Albinus's deeds and his sacrifice for the people of Jork. The local bishop starts working the crowd and declares that Albinus is a martyr and a saint and the locals begin construction of a shrine in his honor. Meanwhile the king of Jork is happy the problem has been dealt with and gives Stignadr a force of 100 men and 5 ships to return to Rhus and help fight off the Merfolk.

While the army prepares to leave the party splits up, running personal errands. Thorgo goes to the hermit seeking knowledge of magic. The hermit is polite, but says he isn't taking in any apprentices, but directs Thorgo to a witch that he knows, warning him to not seek the path to power. (At that Thorgo politely keeps quiet as he's a guest in this man's hovel). Thorgo was accompanied by 2 NPC crewmates from The Freedom (the name of the karvi that the party began the campaign in). One of them says he's not interested in this magic nonsense and heads back to the group. The other one says he wants to go with Thorgo to learn magic. The two buy a small raft and head up the river, searching for the witch.

Session 5 skips ahead as the fleet has finished mustering and is ready to return to Rhus. Among the Brythonic soldiers are Robert the Stonemason (Also known as Bob the Brython) and Val, both local Christians and replacement PCs for myself and Havoc (Albinus's player). Robert has deeply mid stats, good HP and is incredibly learned, being able to speak fluently Norse and also able to read and write in Brythonic. He is a relatively new convert to Christianity and so is a bit...loose let's say with his interpretations of the holy scriptures, as are the others in the area. He became inspired by Albinus's martyrdom and sacrifice and is going to become a member of the saint cult dedicated to him, for sure.

On the way back to Rhus the fleet encounters an odd sight - an island that was not there a couple of weeks ago as the crew sailed to Jork. The island is covered in hills and an imposing mountain, as well as a port and village which are of strange and alien architecture and completely abandoned.

The fleet stops to loot some gold ornaments off an old boat and those who disembarked have a vision the next morning - the rising sun appears to them as a blazing red eye with a triangle in the center. Bob and Val declare that this is a sign from God and that he clearly looks upon them with favor in the upcoming war with the merfolk. This mostly keeps the crew of the ship content and not panicking.

The fleet proceeds through a narrow channel now formed between the new island and Rhus, and arrive in the fortress of Trecht, where Stigandr, having now returned with an army as promised takes Princess Sophia's hand in marriage.

The next morning there's a war council and the PCs, plus Sophia and Grimmr (the captain of the Jork fleet) decide to go explore this new island in hopes of finding allies against the merfolk, as it was observed that the merfolk avoid going to it since it showed up a few days prior.

The group makes their way to the island, finding the mangled remains of the previous doomed Rhus expedition sent to investigate it by the increasingly mad and demented king. Going into the forest towards the imposing mountain, the party run into the mutilated hanging corpses of beastmen and the drumming of strange drums in the distance. Sophia has enough of this shit and flees, Stigandr running after her to make sure she's safe. The rest of the party, composed of Ingvar and Olaf the vikings, Grimmr the Jork captain, Robert the Brython and Val proceed to the mountain - a strange obelisk of sheer rock, spiky points and no vegetation.

Robert boasts that he will climb to the top of this thing, with the boisterous Grimmr immediately challenging him to a race. Everyone except Val (who is of low constitution and would almost certainly die trying to do this nonsense) decide to have a race, climbing up the mountain in 5 grueling days. Eventually, Ingvar makes a surprise advance and manages to overtake everyone, getting to the top first. All who climb the mountain experience a strange feeling if awe and cosmic insignificance, and find themselves marked with a triangular mark on their shoulder - the sign of the mountain and a potent magical protection.

The climb down, now without any food left, claims Olaf who is lost to the mountain, but the rest descend and meet up with Val. On the day of their descent they also go out hunting, as they are all very hungry, and in the process run into the beastmen, having now captured Stigandr (who had previously stood behind to hold them back as he told Sophia to run away) and experimenting on him, completely mangling his left arm at this point.

The beasts seem in awe of the people who have the mountain's blessing and do not stop them as the party retrieve the barely awake and concious Stig and return to their makeshift camp, giving him food and water, and Robert giving the poor naked man his shirt to keep him warm.

The party try and fail to leave off the island and go back to Rhus, but their attempts at crossing the channel with a raft are thwarted by a flash storm that just does not let up, so eventually Robert declares another boast - he will swim the channel in the storm, reach Trecht and get help. Grimmr, now going stir crazy from doing nothing for 2 days straight, oneups him and proposes another race.

Robert can't do much but agree, and the two men strip naked and dive into the murky stormy waters. Grimmr is lost to the storm, blown out into the open seas, but Robert, exhausted and hurting gets washed up on the shores of Rhus. He pushes through the storm and the night, out of sheer determination and reaches the ruined walls of Trecht. Apparently the battle had been fought and lost there in the time the party were busy racing up a mountain. He runs into a friendly local, tells him about the others stranded on the island then politely collapses from exhaustion.

The next couple of days the party manage to get saved and get back together and hear that the merfolk attacked en masse, destroyed the fortress, but the Jork and Rhus forces managed to drive them off in the center of the island, at heavy losses, but still victorious. The victory was hollow though as the Jork soldiers realizing there's little food simply raided the treasury and abused the local population.

Stigandr, exhausted from his ordeal, renounces his pagan ways and asks to be Christened, which Robert performs himself. The party gather up what they can in The Freedom and make ready to set sail back to Jork. Sophia asking them to send help and food, but the party are doubtful that any help would be of use - Rhus is clearly a cursed and doomed place, and so they just want to get away.

Observations

Fuck this is way longer of a recap than I intended, but so much keeps happening in these sessions that it's hard to cover it all even when condensing things significantly.

I wanted to have Thorgo learn magic from the moment I created him, so this was a great way to get him moving on that direction. Nathan, our Referee, says he's fine with running individual side-sessions for people, so Thorgo will be doing his own adventures. I made Robert as a throw away character to just play in the session, but he now has 3 hit dice, personally had a hand in installing a Christian king on the throne of Rhus (for what that's worth) and has a magical blessing from the weird mountain.  So my stable now has 2 very solid looking characters, which is almost not what I wanted, as now I have to actually put some effort into both of them hah.

Boasting continues to always feel slightly odd - the fact that you declare a boast, then get the bonus, then keep it if you succeed sounds like it should be intuitive, but that's...just not how actual boasting in real life works. You boast to others after the fact about the great deeds you've accomplished. So it just doesn't quite fit, but we seem to be getting the hang of making it work.

The race up the mountain was lots of fun, completely decided on the spot, and also helped underline just how little most of us, who aren't Stigandr, actually cared about Rhus and its fate hah. The race was a series of Constitution attribute tests, which definitely helped underline a broader issue with D&D like games, which that attribute tests are very awkward of a mechanic, in a system that does not focus on raising your attributes.

Val has a CON of 4, which is why his player decided to not even try and run him in the race - he was going to die, 100% guaranteed.  This brought on a good discussion during the game, and is something I've thought about on and off for a while now too.

Broadly speaking, I think that if you are going to have attribute checks be a regular element in your game, then your attributes should be able to be raised above what you rolled initially. Tunnels & Trolls makes that effectively the entire engine of the game, and it works fine and solves the problem.

Another observation is that these sessions have been just absolutely packed with action and events. I suspect that is due to the general density of stuff in the Wolves hexcrawl, more than anything else, but of course that's for our referee to know. But even just the immediate area around Jork appears to be full of giant monsters to hunt, a dungeon and numerous other things. And that is but a tiny speck on the entire hex map that composes the Wolves Upon the Coast campaign setting.

I am definitely interested in seeing how running two different characters will go. I usually use side-characters as mostly just throw aways, and in B/X or other older D&D games that makes sense - when you need XP to level up, playing multiple characters simply means you are diluting your XP per session and thus all of your characters just end up overall weaker.

Well in Wolves there is no exp, and Robert now has more hit dice than Thorgo! So I think that helps people just make new PCs and simply run with them. That and of course our referee being willing to handle multiple PCs and keeping track of the timeline that entails.