Author Topic: On Narrative Design  (Read 18296 times)

Mister Andersen

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Re: On Narrative Design
« Reply #45 on: February 19, 2017, 05:11:16 AM »
Inside the classic Tabletop RPG behind CD Project Red's upcoming Cyberpunk 2077 - Less a how to this time and more a brief hagiography of Mike Pondsmith and the creation of his seminal Cyberpunk RPG.

There are lots of little interesting snippets in the article but one thing that really hit a chord with me was the comment on the art style -- based around the clean lines of contemporary artists such as Nagel -- of the original game. I've never played Cyberpunk nor read anything of its original release apart from flicking through some adventure modules at the local bookshop.[1] Well, they could have been Cyberpunk, but they may been for Shadowrun. But this is when I first started going to gaming cons, and one of my most vivid memories was a blurb for a CP session called "Pretty Hate Machine". Can't remember for the life of me what the scenario was, but the name and the picture that went with it -- a very elegant B&W line drawing of a kneeling woman with a cybernetic arm -- have been burned in my brain ever since.

So having read the article, I click on the link for the trailer, and lo and behold, I see the picture.

The clip lingers on that picture, all gussied up and retro scanlined amidst the hi-def CGI, for several moments and then later frames it in the background of the visually similar cyberpsychotic seemingly poised to take a headshot. So I'm guessing that the image is probably from the 1st edition core rules. Did it have some significance to the over all narrative or aesthetic of the book? Or was it simply space filler that now as some 2 generations ago struck a resonance with some one looking for a singular defining visual? In either case it unobtrusively yet brilliantly ties the computer game to its pregenesis.

Also, BTS of the Cyberpunk 2077 trailer, which provides a direct comparison the original image and the one from the clip.

1. Seriously, how cool was it that I could go, at the end of the 80s/beginning of the 90s, and get RPG books from my local franchise bookshop and browse two or three shelves of the things like it's the most normal thing in the world when my teachers were freaking out about D&D and its ilk being a pathway to Satan?
« Last Edit: February 19, 2017, 05:20:40 AM by Mister Andersen »


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Re: On Narrative Design
« Reply #46 on: February 19, 2017, 07:34:27 AM »
The woman in the image is named Alt as in the early 80s supermodel Carol Alt. It is her face and body used for the artwork. She did some model work for Sports Illustrated's Swimsuit issue and also did some acting (very little in the US but quite a bit in Italy). or check her website for lots of pictures:

I started Cyberpunk back when it came out in the black box in 1987 then it was released as a 2nd edition about 1992 as Cyberpunk 2020. Been waiting for the Cyberpunk 2077 game for a few years, here is a behind the scenes talk by Mike Pondsmith about it:

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Mister Andersen

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Re: On Narrative Design
« Reply #47 on: February 22, 2017, 11:18:46 PM »
Thanks for that DP.

D&D: How to Use Character Arcs as a Dungeon Master

How does a DM write an adventure that will make a player’s arc happen?

Spoiler: show
First, get the information you need. Ask your players to each determine how their characters will begin the campaign and how they want them to change by the end of it. Then ask for copies of their character’s traits, flaws, ideals, and bonds. Note whether a player’s character is going to die tragically and if they are okay with that. With this information, you can give the players what I call a moral quandary, personalized for their own character’s arc. A moral quandary is giving the player two difficult options that the player must decide how their character would choose. The character should lean to one side of a moral quandary at the beginning of an adventure, but gradually start to lean the other way as their arc comes to completion.

For instance, a cleric might be presented with a choice to kill an evildoer or merely capture them. If the cleric is heading down an arc where their ideal changes from “all life is precious” to “evil must be stopped at all costs” in their character arc is going to make very different choices in that situation depending on where they are on their arc.

Let’s figure out how we can use this info as a DM and where to put moral quandaries using a 9-point story structure. These are not an entire campaign, but you can use each point as a fixed point in the narrative; a story outline based on the characters’ arcs. Plenty of different stuff can happen between each point, but the points must happen to create a robust story.

Call to Action

The player is given an initial call to action. Essentially, a moral quandary disguised as a quest hook. Try to have a separate but related call to action for each player. Ideally, the players should refuse the call to action, as they haven’t been “changed” yet. If they play to their characters’ initial backgrounds and traits, they will refuse the call. You can even enforce this by loading your call with descriptions of how the character is feeling. “You are offended that someone would even offer something so morally reprehensible to you, despite the fact that you could use the money.”

A good-hearted rogue is starting a tragic fall arc and is offered a chance to make millions from some morally questionable actions involving an evil regime, but decides it is wrong. An innocent paladin starting a coming of age arc could be offered a chance to rise against an evil regime, but values their own safety. A studious apprentice wizard starting a corruption arc is offered power in exchange for service to an evil regime, but decides they can get power on their own.
Inciting Incident

Something happens to force the player to action, whether they are ready or not. Try to come up with an inciting incident that involves all of the players, not just one. The inciting incident can act as where the adventuring party finally meets.

The evil regime in the Call to Action ends up invading the players’ quiet suburb to enforce martial law. The players escape or fight back or else they and their loved ones die or are enslaved. The rogue decides to run from their debts by joining the party. The paladin has seen firsthand what the regime can do, and will now join the party to find someone else who can help them stop it. The wizard seeks out more power to stop the regime.

1st Plot Point

The players learn the first shreds of information about the overarching narrative of the campaign. After the inciting incident, some characters might not be convinced and want to turn back. This gives them a reason to continue onward together, as a team. There should be no turning back from the 1st plot point.

Players learn how this evil regime has been spreading across the kingdom. It still holds many mysteries, but its power is great and threatening. Its power is centered in a capital city, which the players now opt to travel to in order to find the things they currently desire.

1st Pinch Point

A pinch point is the first real display of power from the antagonist or opposing force. In D&D this should be actual combat, though it doesn’t have to be. As long as the players see firsthand what the antagonist can do to their characters, this part will add the tension/drama that it should. If you want to have a 1st Pinch Point for each character, then this display of force should directly target the player’s character arc and spark the desire to change through a moral quandary. It’s an awakening. Create tension by ending a session with this pinch point.

The players come across a thieves’ guild run by the evil regime. The rogue takes note of how rich, glamorous, and lawless the life of a criminal is to spark their tragic fall arc. The paladin realizes how deep the corruption of the world runs and sparks their coming of age arc as their innocence starts to fade. The wizard realizes how much resources the evil regime has, and wonders what sorts of power they had in mind for him sparking their corruption arc.

More info is revealed about the antagonist and the perception of the characters change. They have an epiphany and decide to continue onward through their arc. This can, and most likely will, happen at different times for each character and their varying arcs.

The players learn about the leader of the regime. They have been pushed to the breaking point by the regime’s forces. The rogue decides join the regime and start doing crime for the regime and acting as a double agent against the party. The paladin no longer cares about finding someone else to help them stop the regime, vowing to end it themselves. The wizard gets an unholy tome and decides to learn how to make a pact with the demon the regime mentioned to overpower the regime. They are all still heading to the capital, though now with severely divergent goals.

2nd Pinch Point

The antagonist reveals their full power and threatens the completion of the characters’ arcs. The entire party should, in general, be at their lowest moment and completely without hope. This should happen at the same time for everyone. Ideally, end a session with this pinch point to create a cliffhanger and highlight the hopelessness.

The players reach the capital of the evil regime. The rogue is faced with a moral test, where they will be offered riches and allowed to live if they rat out their adventuring party. They choose to take the offer and are betrayed by the regime’s leader and sentenced to death anyway. The paladin comes face to face with the regime’s leader after being ratted out by the rogue. They fail the encounter and barely manage to escape with their life. The wizard is also defeated and their unholy tome is destroyed in the battle. The rogue is imprisoned and the paladin and rogue escape the leader and are being hunted in the capital.

2nd Plot Point

The last piece of the puzzle has come together in the second plot point. The characters finish their arc and learn how to overcome the antagonist. This can happen at different points and doesn’t have to happen quickly. For a tragic character, this is the part where they finally meet their end. Tragic characters fail to change or their change is self-destructive and they fail to overcome the antagonist of the story (tragic, isn’t it?). Think of this part as a moral quandary that characters’ finally “know the answer” to, as far as their character arc is concerned.

The rogue tries to escape, succeeds, but heads back to the thieves’ guild instead of his adventuring allies, and they ultimately betray and kill him. The paladin’s innocence is shattered and they gather rebel forces over time to take on the regime’s leader, becoming a leader themselves. They also find an unlikely ally in the wizard, who has finally succumbed to evil. The wizard still doesn’t know how to summon the demon, but they have already gotten a taste of evil’s power by performing vile rituals on captured regime members and will now use their power for vengeance against the regime’s leader.


The characters finally face off with the antagonist. The promise set out at the beginning of the campaign is fulfilled. The characters, having completed their arcs, are now changed enough to be able to defeat the antagonist. This should be the players at their most powerful and should be the most epic battle to take place in the campaign.

The paladin’s rebel army and the wizard’s evil magic face off against the evil regime’s leader. The battle is long and epic, but the characters succeed, freeing the kingdom of the evil regime.

The game shouldn’t abruptly end after the antagonist is defeated! There needs to be closure. The players’ characters find out the results and the aftermath of defeating the antagonist, for better or for worse. In the case of an ongoing game, you should now set up the next campaign here.

The paladin and wizard regard each other as unsteady allies who no longer have a common enemy. The wizard seeks more power, even seeking to possibly usurp the void of power left from the regime’s defeat. The paladin and their rebel army gather in defiance of the wizard. The paladin tells the wizard to leave the kingdom and not threaten anyone with their evil, else the paladin will smite them down. The wizard, not having many spells left after the battle and not being ready to face an entire army, teleports away to parts unknown with a puff of green smoke. The paladin is placed in power, and the wizard now acts as a looming threat. Perhaps an NPC and villain for the next campaign?

This character arc outline is not cut-and-dry. You should use it as a guide, but a rule. Some characters might abruptly choose to change. Some will reach different parts of the outline at different times or out of order. Some characters might waffle between two sides of their arc before deciding which side they want to be on. But the more you talk to your players about it, the easier it is to come up with a generalized plan for your campaign’s story. Heck, your story might even change from what you initially intended by the end of it (a character with a bad roll can still end up dying before even finishing their arc!) But hopefully this will aid you in making the players love their characters even more and have fun as they grow and change in your campaign’s world. That’s what it’s all about, after all.

Mister Andersen 2.0

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Re: On Narrative Design
« Reply #48 on: July 26, 2017, 12:22:42 AM »
Populating Your New World

Building a world from the ground up has almost countless facets to consider. Even after you’ve created your protagonist’s culture, city, government, religion, etc., you might go along wiring only to find that the meadows and forests and even alleyways are devoid of life. Wildlife. Your main characters’ species won’t be alone on its planet, and if you’ve created a brand new world entirely from scratch, you might find that populating the land and water with terrestrian plants and animals doesn’t feel right, not when every other aspect is original. So what’s a world builder to do?