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Triple Advantage
Triple Advantage

Season 2, Episode 1 · 2 years ago

Ep. 13 - Sword Coast Adventures

ABOUT THIS EPISODE


Season 2 of Triple Advantage is all about storytelling and the tools we as DMs like to use to better explore a setting. This episode we start off by telling you a bit about our the campaigns we are currently playing in. Throughout this season we hope to explore more stories from our local community and beyond. Listen in! This season is going to be fun.

And so another chapter begins. Guys, we begin with season two, officially, of triple advantage. What does this mean? Not that much, mostly an esthetic change, some logo updates, some new backdrops, in a different way of organizing our content. So we figured we throw another season at it because it sounds kind of fun. Today Jordan and Britain are here, glad to be back yet again. Everybody got a rehired by the Royal City Society to do this podcast. So we made it guys, kind of Nice job. Securities easy when we don't get paid right. Nice, right. On today's podcast we're going to be continuing too of the concurrent segments of triple advantage. We're going to continue our divining of the DNNG and later on we are going to address yet another one of Jordan's critical thoughts. So stay tuned for that. But first it's a new season, guys, so I wanted to approach a new theme perhaps for the podcast, for these discussions. I want to talk about storytelling for a little while. Let's see how long we can stretch this out, but I thought a great idea that would be to start with the stories that we've been telling so Jordan. I think you're part of both campaigns. Yes, and I correct. I am. So now. Spoilers? No, no spoilers. But what are two of your favorite moments from either campaign? Who Two of my favorite moments from either campaign? All right, let's see. I really really loved Joba as the, I guess, gang leaders villain in Braden's campaign. It was really great, especially when we first met him, because he didn't really know who he was. You'd only kind of heard a little bit of rumors about him and he came up and he was very confident in his abilities to well, yeah, so so that the the players weren't a threat to him, and it was really, really interesting just that first meeting with him and then the kind of like building relationship and also, I guess it was kind of like our first steps as a group kind of down a more more evil path than what I had first anticipated. So it was it was really cool. That was the kind of a turning point, I guess, for that campaign. For Your Campaign, Carlos, I really liked the floating fortress that we came across. That was just kind of this extra thing that you would put in there. That was really cool. Had Weird you had it weird interactions with with the person that was in there, and I'm still not even sure if that person was alive or dead to this day, and it was just a really, really cool almost like a side quest, but it really but I also was tied into the the main story that you were trying to push. So I really enjoyed that part, that whole aspect of it. I think it's I remember the Joba a little bit of the job, a part in Braden's campaign as well, the brief period before I died and was set ablaze, like remember correctly, or that is that is unfortunately correct. Yes, Cupe, that times. So I don't actually know anything about the Joba. How did that? How did that conclude? Because you guys are past that now, right. Yeah, we are past that. So it concluded with US coming back from another quest and having dealt with all of the gangs within the city, we decided that it was time to take out Joba and the mayor, or the the the political leader of the town, wanted us to get rid of him because he well, because Jobo was essentially pushing him around. So we found his secret hideout, tried to get in sneakily, kind of failed. Joba knew that we were coming and then there was some weird experiments going on there and something was up with Joba. We're still not entirely sure what he was...

...doing, other than some experiments on himself, and it was just a really fun clash. Then after that, did you guys fight? Oh yeah, yeah, we fought, and apparently one but it's really hard to tell when what you're fighting it turns into a shadow. So interesting. Yeah, did anybody go down on the food or I don't know, from a DM's perspective, Braden it is. It was an interesting one because I've mostly been throwing kind of mobs that these guys they're they're a big party, as you know. We've got like six on the usual, occasionally seven, in this party, so it's a big party. So it's more. It's going to see easier, but that's it's not easier at all. It's much more easier, but easier now it's it makes up. It makes it a bit more balanced when I can throw multiple creatures at them to kind of get a bit of a dividing conquer going and it was kind of strange to just throw one of them, but this one was more than capable of holding his own for quite a while against these guys and then kind of pull in the old switcheroo on them at the end to and they when they didn't expect it. I don't think I took anybody down, but I think no, close on a couple or growth. Was Definitely floating the line there for a while our party. But yeah, and are I believe that my character actually shut down your opportunity to be able to bring out more mobs because there was experiments going hang on that you were going to use. Yeah, so, so that I could have joined and did not thanks to some quick thing. Yes, so that that made the the fight a little bit easier, which actually I really enjoy the opportunity to be able to change the difficulty level of the fight. a waste, really good. I really planned on you being able to do but I don't like to I like to reward my players if they have good ideas like that. When you when you say something like yeah, I'm going to attempt to disable this thing that clearly doesn't look beneficial to us, I'm like, Oh, okay, I didn't think about that, but yeah, sure, go ahead. That makes absolutely that absolutely makes sense. So sorry, Jordan. What's your character and what are you playing? Okay, so at that point I was playing a Paladin of the oath of redemption and his name was sho con, not to be confused with show gone, your character, although it has been confused many times. Oh, yes, so at that point, yeah, I was playing a Paladin of the oath of redemption and I was the only lawful good character in the group. Since then, Scho con has kind of gone off on his own quest, mostly because he doesn't really match with the group, but also because some of the story kind of offered and out for him. So he is off doing that and I have since taken up a new character that meshes a little bit better with the group and also, I think is fun. So translation it's pure chaos. Yeah, that's great character. What's the new character? The new character is named Arthur and he is a bard of the Lore subclass. So basically he's he's invested in skills. I gave him, I mental stats, so wisdom and a bit of intelligence and a lot of charisma, and I gave him dexterity as well, so he can pull off cons and the ability to steal and pickpocket and break opened into places. He's kind of just that guy who who does things outside of combat. He's definitely not combat oriented. I will think of that class is kind of like the kind of like Frodo, kind of like the hobbits, you know. Yeah, I based him off of the mentalist, Patrick Jane, from from the TV show the mentalist, right. Yeah, yeah, and a little bit off of Lucifer from the show Lucifer. So yeah, that was that. That's my new character. He's great. Fits a lot better with the group and I can kind of have fun...

...with them and kind of mess with them, almost as a little bit of payback for how they treated show con but like fourth wally kind of. Yeah, like not too much, just enough to have some fun. So where's a in terms of the story? How how does it character fit in? What are any motives that you currently have? Mostly, right now, his motive is to get money and, seeing as how the group has recently come across a very large chunk of coin, Arthur has become infatuated with the idea that he might also get a portion of that if he were to entangle himself with this group, and he has offered them different services and is now currently giving them shelter via his connections. So he's kind of he's trying to use the group eventually, but he has to set himself up to do so. and Are you aware of every person's plant? Our eploys burden. How does that factor into your storytelling? Like they you know that they're into gold right now or I don't know, just like in generally story beats that they they might want to explore. It's interesting because I've been I've been frustrated, as I always able these guys. It's always a weird kind of juggling act of what I think is going to happen and what actually happens in the end. But they recently came into a ludicrous some of gold from selling a property that they obtained not especially legally, and decided to put to that money in a bank. So I spent my I spend a while actually coming up with a full banking system to put all of this money into, to run a can't, basically to put everything get everything ready on my end so that they players didn't really have to do much besides put the money away and just decide when to take it out. So I got that all set up. They deposited the money and one of the there was like a onetime fee for the bank. There was a nothing really beyond that. They're able to withdraw whenever. The one thing that I did say was you're the only one that can access your money, with the exception of the fact that if you do something dumb in the eyes of the law, if you're arrested or something and you have to pay for something and the law says we need to seize their assets in order to compensate for whatever happens, they're not the bank's not going to say no, it's their money. They're going to say, okay, legal authorities, here's their money. And I had them all agree to this. They all agree to this and within an hour they committed double homicide. My character was unconscious during this time. So exited the exited the fight and then during our kind of postgame, cool, domn discussion, one of my players went, man, I knew he wouldn't let me keep that money. I was like, excuse me, that y'all didn't have to kill them. That was not there. Was No, no, no, no, Yep, but it's fantastic. Yeah, I was. I was having this conversation with Jordan last week, where he had asked me how I tend to prep for games and if I like to kind of have everything really, really planned out. I'm kind of operating at both ends of one hundred percent control and no control at all, wherein I took a ludicrous amount of time, way ahead of US doing this campaign, to kind of map out everything in terms of the cities, in terms of the major NPC's, in terms of any major plot points, any major organizations, etc. Etc. And I've learned very quickly that any attempt at not railroading by kind of trying to shift them back towards one specific plot doesn't work so well. So basically, at this point I kind of sit back and let them do whatever. So it's a lot of just kind of going with the flow of whatever they want to do, but I've also got everything in the background planned down to the nth degree so that I can let them do that and still be prepared as best as possible. This is a definition of the game, though. You know, two sex experience, one hundred percent. Yeah, it's weird dming that on Thursdays and then going right into the campaign that run with you, Carlos, and some other friends, which is hold of the Dragon Queen on Fridays. Because right...

...it is like, like you say, that the home brew is a true sandbox experience and even in terms of a prewritten content, hoard of the Dragon Queen feels extremely linear and extremely real, roady kind of you do this, then you do this, then you do this, and not much rumor between. So it's very, very different beasts. In the end. I think it's more so that a lot of these modules play out like a video game would, right actually, so you start up, you make your character and you progress through the story and the sort of narrow world. It's hard to go from a story like that and then just say yeah, true open world, because I guess if the players just decide we are not interested in the story anymore in this particular beat, let's turn around and go explore another quest or whatever, right. But I think with the the pre written stories, everybody sort of understands, I don't know, there's like a pseudo agreement made between everybody that it's kind of like just a game. You know, you're pushing through a game. At least that's how it's felt the Yeming at a little bit, and I guess the benefit is a most most of like my experience with the Tomb of Annhilation, all my players also played video games like a lot, so it's not like it's not like new territory to explore for you guys, but maybe from some new players who aren't used to the game, something to address in a way, because you're expecting like just, Oh, I'm gonna turn around and leave the city, like Oh, but can you not? I don't know, like I think. I think hoard of the Dragon Queen is definitely a little bit more it's a little bit tighter than to annihilation, because I just went plop your in a peninsula, figure it out. Yeah, you know, yeah, whereas heard of the Dragon Queen, I guess, is like more of a here's a level, go and do this level and then you move on to the next level. Yeah, exactly. Yeah, so far. I will say, though, the video game analogy does kind of Rub me the wrong way at times, just because not in your campaign at all, but just I don't like the idea, especially I've heard players they come up against something tough that they don't necessarily have to face and they're like, oh, we're just gonna we're not a high enough level for this. We're just going to go grind and come back your room. We're a higher level and that just it just it doesn't really fit in that idea of like an ever evolving world to me. Like I don't feel like the villain is just sitting there stationary waiting for the hero to show up and defeat them whenever. Let's be I know that that's definitely come up a couple of times in tomb. From my experience with you guys doing that is you never go back to it. No, we haven't get your right. I think this is a dragon, so that it's some points will do this. And we never went back to that by any means. Like the story kind of continues and you guys are exposed to certain elements, right, but that's the whole point too, is that you guys were already on a story path as well. So it's not the biggest deal that you didn't explore but the you you're not going back to it, is what I've noticed. So I don't think it really matters because as level wise, I just make the main branch continually harder as well, you know. So it's you're gonna face the same CR level creatures regardless of your choices for the most part, unless you're like actively saying like Oh, this Gallin quest is like if you ever get back to a port or something and decide, Hey, let's take up an easy quest. Right, but I think gets the main story is tied in a lot with your level. Right, I guess that. I guess the the the opposite end of that is kind of like if your characters are, or if the players are kind of meant to go on these side quest and explore different areas, or if you set that up to be kind of a thing that you thought that they might get hooked into in multiple different ways and they just decide no, we're just going to follow this one kind of path, then in an ever evolving world, I guess technically the main path or the main story would be easier, but then this side quest gets harder. But they might not never, they might not never go there. So then, like how does that kind of play in? Is it always the the main quest that has to get harder or the main quest has to stay on the same CR level as as is appropriate for them? or in...

...some cases, I guess the main villain could technically be at a point where he can't get any stronger. So maybe he's kind of stagnated there, but his plot line or his like story or his scheme may continue on. So in that case you could go and grind, quote unquote, and and and level up so that you're able to take on this villain, but he might get closer and closer to accomplishing his or her goal. Yeah, pretty much like I've been all path lead to the same location. Some our Windier, more direct. Yeah, like would you change the CR level if they went and grinded like, let's say it was in that case, like where? It depends, like I'm in. If it's like a lion that they find in a forest, right, like a lion isn't going to get any tougher, right, over time. So no other creatures that are more intelligent, for sure. Yeah, if it's somebody that's plotting to raise like gangs and go loot a city, right, the more time you give them, the more people there they are likely going to recruit. So maybe not directly increase to see our level, but made the encounter more difficult to match, but not to not to things like creatures that they encounter, right, like they're certain things, like strong creatures in the world that kind of roam. Those creatures aren't necessarily going to get tougher. They're just, you know, a big dinosaur that's going to be somewhere and, yeah, you know what I mean. So I think the thing might be those kinds of encounters might not stay in one location. Right, if it's something that a player encounters and goes, Oh, this is too tough now we're going to leave to level up and then come back. Well, if that creatures story path is to leave, well, you might have just missed your opportunity entirely as well. Right. So I don't know, it depends. It depends on what the type of creature depends on the type of encounter. Definitely not to the main story, I would say. That's where I would think, like that main branch of the story at eventually will start having effect on the world itself, right, because it's supposed to be these like avengers level threats and if you let those go unchecked, they are going to cause havoc among everything. So it doesn't matter if you're going to go grind and you know, I'm going to get a lot of gold and then I'm going to go buy some magical items. Will eventually shops are going to close, cities are going to be destroyed. Yeah, because the main story is continuing. So maybe they're stronger level. At that point you're fighting this thing because this is how we close the book. Yeah, that's how I would approach it. anyways. Do you guys set up like see our level zones almost where it's like, okay, so this area is kind of like, Oh, if they went into this zone, it would be, you know, these kind of creatures that are too powerful for them, but they might not know it. Or if they went into this area it would be you know, lower level stuff like could could level ten people come across goblins? Absolutely, I actually take a lot of the encounters in the world less on a Zr, like see our zone in the map itself, but more on like a threat level that the characters are right. So at higher levels you as characters might not think much of Goblins, so I don't give much of a description. Or things like giant snakes at this point aren't really a big threat. So you're like the whole thing is how to I describe? Oh, it's just a giant snake's right. So that changes your mindset on how you might consider the encounter itself. You can definitely go for it and slaughter the Goblins if you want, but you know, it's just a bunch of goblins. You've seen a ton of goblins before. Leave that for some lower level adventures. See, yeah, whatever, unless you're on like a quest right like, or there might be like some story elementary, right like if you see the goblins have or are hiding something or it's some regal cart that you see is looted, like something a little bit more interesting than yeah, you push it a little bit more, but it's like you encounter certain things, but it's not going to be like you're going to be excited fighting, you know, spiders a level.

Think it can. I think. I think it would be kind of fun as the DM to kind of put out a hook for for them and kind of sell them on the idea of going and fighting these goblins or spiders or whatever, whether the folk had had kind of ramped it up as something that was far worse than it actually was, because in their minds they there's no way that they can handle it. But for the players they might go in and take one turn in combat and be done with it and they'll be like, oh yeah, you know, it's kind of like a story prompt. like you could encounter a bunch of goblins running towards you and then, as they get to you, notice they're actually just running past you because you're getting chased by a dragon. Right. So it's like you stop and fight the Goblins or you choosing, like what are they running away from or whatever, right is whether or not you're going to encounter our dragon. I think we can continue talking about our stories in our campaigns throughout this season a little bit more in depth as we continue through more of these meteor parts of the of the stories themselves. I think you guys are know more about to really dig into the main plot of the campaign very soon. So I'm excited for that and I'm excited to see what's coming from hoard of the Dragon Queen. I know we've just exhausted ourselves cleaning through an entire keep. Oh that's so, buddy. I know, and we just we just found out that this is like a huge keep as well. So we in the Dungeon, baby dungeon grow pretty much. But more on that and future episodes of triple advantage, and for now I think it's toime we move on to the whole point of why we started this podcast in the first place. Britton ealth. Yes, let's let's start divining the DMG. So last time we discussed campaign events. We discussed what campaign events look like and when to put them in and went to not put them in, and we started to take a look at what the book lays out as ten major types of world shaking events. So we looked at the first five, which were the rise and fall of a leader or era, a cataclysmic disaster and assault or invasion and a rebellion, a revolution or an overthrow. It was a good discussion. But now we have the next five. So starting off number six, it talked about extinction and depletion, which is something that I've really never thought about or considered adding to a DD campaign, but now I'm super interested the idea that, yeah, resources are finite in the in the fantasy world is just as in our own. So resources can go extinct or can be depleted, some of them essential. So it does give a date table to decide what to make scarce. So it mentions maybe a certain kind of animal, a lot of habitable land, a resource, a family line, a type of plant, a water source. Perhaps magic is included in there. So turning your campaign from a high magic into a low magic campaign? Who? I think that'd be interesting. Would be pretty cool. Now, would this be like as the leading point of the story or just something that like the backdrop to the story? It does mention this as one of the kind of three. I think we talked last time about how you should have approximately three large scales world shaking events per campaign. So this would be one of those three, but I don't necessarily think that you need to. That's a good point. Does the world shaking event have to be the focus of the campaign or can it just be happening in it affects the campaign, but maybe it's not something the players can fix. Maybe it's just chilling there in the background and affecting things without actually directly engaging them. Well, yeah, I mean like the extinction of an animal or a or a particular type of monster like dragons or whatever. Not much that the players can do about that, to be honest. Unless you turned the focus of a campaign into finding them would you could do, but it's definitely not something that has to be the focus. It could just be something that the players completely ignore. Definitely, if pursued to might be like, I don't know, who would you allow players to fix certain extinction events?...

I guess, if the story is therefore right, but I don't know, rather not that. I'm just I'm just saying like there's certain things that people might not be able to fix. You know right. Yeah, for sure. I mean if this, if the story allowed for and if if the players really wanted to, I'm might start to change the world. I guess, depending on on on what they were looking for. If they if they really were interested in dragons going extinct and that was like a really bad thing in their head and they really really wanted to go and find a way to improve that situation, maybe the story would start to change so that they could find little hit ands and tips about dragon layers and where they might find dragon eggs or if there's some maybe there's some sort of plane of existence that they can go and hide the last of their kind on or something along those lines. Because if that is what the players want, then then I think that that's probably the best route to go, just for them, right. So the next events that it discusses is a new organization. So we talked a little while ago about what organizations look like in our in our universe verses, but this talks about what does it look like, how does it shape the world when a new one just comes in a nowhere and that organization could be really anything. Some of the examples it gives us like a crime syndicate, new guild, a new military order, maybe a whole new philosophy in invading force from another world, a new secret society. The biggest example. I'm still I'm not sure if organizations the right word, but I'm just going to go with that. The biggest example of how I think the introduction of an organization kind of shake up your world is from critical rule season one, when they introduce the chroma conclave. Carlos, I know Jordan, you haven't seen the first season, but Carlos, and not sure if you remember that, and I remember this, where it's like midway through an announcement from the king when this secret couple of dragons just drops in and wipes the dynasty off the face of the map and then pretty much sets themselves up as the new rulers of this plane. Oh sure, I remember reading that in the wild mounts guy. It's like, Oh, yeah, it's definitely a that's one way to introduce your new organization. You know what I'm thinking of the I'm thinking in your campaign bread, and it seems from what you guys have been talking about, is that the players have formed their own organization. MMM, making ways in the world too, right, like good thing, and just don't have to be the grand scale, right, because on the setting that they're all in, if you're making waves, yeah, absolutely. Well. I think of again critical role with the the dynasty. The DYNAC actually kind of came out of nowhere because they're dark elves, and the cream dynasty, they were dark elves and they lived underground for centuries, I think, and then suddenly they come out and they've got well, not only do they come up out of the ground, out of the ground and start to kind of form an organization and a kingdom, they also have this new way of life and new way of living and a new deity. So it kind of like sets the whole setting for like the whole eastern half of wild man, which is, you know, a world changing event, but how much will it will affect the players is questionable as far as like immediate effects. So the next thing that it talks about here is discovery, expansion or invention. So this discusses what happens when kind of a new elements at it, or maybe a very old element that's being rediscovered. So maybe finding an ancient ruin or lost city, like we are in tomb of annihilation, looking for the city of a move maybe a new artifact or relic that holds extreme power. Maybe a new invention that somebody has created that threatens to kind of shift the balance of used incorrectly, like the idea of like I don't know, especially with the a brown setting of new inventions shaving the world chipping how I think it puts it in a little bit more of like an industrial revolution kind of setting for a campaign. It does. One of the things that mentions is a...

...choosing kind of two or three faction struggling to possess the possess this new discovery. Who is likely to win this? Who is likely to come out as this prevailing power in the struggle, and what is that likely to do to the kind of the setting hmm. The ninth one I find interesting prediction omen and prophecy. It talks about how a new prophecy, a new prediction, could come along the kind of affects the future of not just your players but of the entire plane. So maybe that have to be a pretty big prophecy. Yeah, I don't I've never really played around without too much. I know this kind of happens in curse of strawd. I'm not overleaf from I'm playing in a campaign sometimes, or curse of strawd and right at the very beginning you meet a local kind of a Tarot card reader kind of woman, and she sets out a she gives you like a full prophecy that's ends up containing a ton of clues to progress your story along. But it was really cool idea. What I'm thinking about, you know, those stories were maybe you're like taking you put your players in charge of taking care of somebody or somebody who's supposed to become a prophecy or whatever, fulfilar. Yeah, something like that, like watching the chosen one, or even or even maybe not, not even such like a grandiose scale, but like where this more these yeah, no, I was just saying like even you have to ask cord a medic or something like that. The I would almost directly link this one back to rising of new organizations, just because when I think prophecy, the first thing I think is like Oracle a Delphi, but if I would to think more modern, the first thing I think of a prophecy is like the Mayan calendar, the world ending in two thousand and twelve, and I immediately associate that with like the rise of Doomsday preppers all over. So I would almost want to play around with like what does what do? How do people react to this prophecy? Like do new churches arise because of what's being said or this? They're like a secret society form to make sure it does or doesn't happen. Right, and in a world that has multiple religions and or churches that follow different like Gods and things like that, how much does one prophecy affect the general populace? Right, you would almost have to have a singular religious organization that runs a large chunk of the world and then that way the prophecy could hold a much higher sway over a larger population, a people's sure those are other considerations to Margaret because just because one prophecy comes from, let's say the Platinum Dragon, you know, that doesn't mean that something those platinum dragon guys are always thinking sums up exactly exactly. So, you know, it's kind of weird. You you would have to have the right setting for it, I think, to be able to have something along those lines. But but it's completely possible and it would be really cool. or or maybe you could just you'd have to think of like a world changing event, right, like something like imagine one day the sun just never came up for for and for ten, fifteen, whatever amount of days, it was complete darkness, and then eventually sunlight came back once again, or whatever. I like. How does that change how everybody operates? Right? Yeah, and so it starts to become a prophecy in multiple different ways in multiple different religions. Almost. Yeah, yeah, who pretty cool. The final category that we got here is myth and legend, and this is their cheating a bit, because myth and legend, essentially what they're saying is pick one of the nine that we've already discussed in go bigger. Yeah, so when it talks about the rise of a leader, make it the rise of a God and you God is born cataclysm. Make it absolutely apocalyptic instead of just a flood. It's like view world is sinking beneath the ocean. It's like the Flood...

Yep. And if it's an assaulter invasion, maybe the nine hells have opened up in devil's or literally swarming in to take over your entire content. That's that's like huge events. Yeah, this this basically it's it says, essentially, take the events that we've already talked about and kick it up to ten. Just make it absolutely apocalyptic. Make sure that this is where I see like your players can't ignore this, because it's this is going back to what we were talking about in our previous discussion. This is, Oh yeah, sure, you can go grind to eventually stop this, but there's nothing's going to be nothing left by the time you're done, because needs to be stopped now. You lose. Yeah, exactly, but that is all we've got for world altering events in campaign events. If you have any opinions on anything you've heard, if you've used any of these in your campaign, want to talk about them, let us know at Real City Society on Instagram. And I believe that Jordan. It is about that time, isn't it about that time for a critical thought? Okay, I could a thought. Can we go quick critical thought for today? I think that I want to ask you guys about narrative power in general. So DM's are, generally speaking, the people who control the narrative and what happens in the world and that kind of thing. But the players get to make choices as they go through right, and I was wondering, I guess, for this one, how much narrative power do players have? And I specifically, I guess I wanted to get kind of get into the mechanics of that. So, for instance, if if a let's say you're the the party, is fighting a dragon and it has a scale that's missing, can a player decide to aim for that? And if so, what what is that look like? You know it when a when a when a person is fight or when a person is fighting a hydra. General Myth and legends kind of tell us don't aim for the head, don't cut that off because it's going to pop up with extra right and a lot of players know that. But it's not really put into like the stack blocks or anything like that. For monsters so. So how much narrative power do you do you give your players if they describe an action? Can they change up the rules almost of DD well not. I think my approach to that is if, first of all, if you're being more descriptive with an attack per se, I might say to the player that attacking and such a fashion right. If you're trying to shoot with an Arrow a dangling bulb or something on a plot, on an enemy character, it's going to be much tougher to hit that right than just hitting them, just shooting and hitting them. So I might increase the AC depending on if it is something a little bit more critical to the fight, but also if it's rewarding in an RP fashion for something that looks really cool, then certainly I mean actions of consequences. I think some some of the cooler moments, like when Leona jumped over and grapple the thing midair, is phenomenal, but you're going to fall right. So narratively, sure that's in the middle of a fight. I guess you're going to be taken to a different level of the fight. You might be able to expose different things or interact with the fight and different manner so I might explore those ups once if players make certain choices that are off the beaten path. Right, do you give actually all that Britain net? Ask person or answer person. Then I'll get back to the next question. Next part I'm pretty mention in line with what Carlos was thinking. I think I'm going back to that first example, like a dragon's missing a scale in the trying to aim for that specific part. First off, I think that's if that's included, like if I'm specifically saying, yes, this is a dragon, he very noticeably has one side that's missing scales, then I've probably included that with the intention of giving them the ability to maybe do a little more right. But yeah, I would say, but let's say a hydra. That's a little different, just because I feel like that's almost altering the monster completely. That's almost just writing a new step block in order to fit...

...what's already what's already going on, because, and especially like if they're bringing in like previous knowledge and expecting that to carry into what is what's going on in the game, it's not always right and it's a little bit it's a little bit metigamy. Like I had a I had a player once. Actually, I think you were both there for that session. I was throwing a homebrew creation of mine at these players that was very similar to a vampire, but it wasn't, and it wasn't notably because I had taken off a lot of the resistances that a Vampa, or sorry, the opposite, had taken off a lot of the vulnerability. So it didn't have vulnerability to radients, for example, and somebody used a radiant attack and I had a player. I was like, Yep, so it doesn't damage, and the player was sitting there going like it does double damage. Jose like, no, it doesn't. He's like, yeah, I looked up the step block online, like it does double damage. I'm like, okay, so it doesn't, because that's not what you're fighting. And also, like you're bringing in knowledge of the US is right to a situation that your character doesn't know is right. So you're probably gonna just end up looking like a food at that point. Right. Yeah, I think, like with the high drous thing or it, I think I would use nature checks or nature stats a little bit more. That's usually how I bridge of the gap with like game mechanics and player a lot of the Times in the game just like Oh, yeah, because of the nature check, you know that this is poisonous and one way or another, or because of this religion check, you know, because of this your general knowledge and religion doesn't let you know X, Y or z about this creature. Okay, you know. So it's a way of masking things that still I think I always want to remember that you're playing as a character, or try to play as the character, because otherwise it would just be easy enough to like metagame the entire game and feeling right like, let's get this concept of Aggro and where does it like? You know it's not to have that in fights, but not, maybe not have it be like the driving factor and like decisions on how you're going to take certain engagements or certain encounters or whatever. Right, it's like the reminder of know your character would generally not know about this topic, right, like you grew up and you said grew up in the city. You don't know much about, you know, nature in the world. So use I use that as like the gray cloud of like metagame. Me missed that. Well, for sure. Yeah, what to that point? Like I feel like if a player was like, Oh, I'd like to know a little bit more about this monster, like I'd like to know if my character would know more about this monster. Right, with a good role, I probably tell them some good tip bits. But if they're charging it, like let's use the hydrate example, if they're charging in going Oh, nobody aim for the head because it's going to make it stronger, and that's not the case, then I'm not going to change the Hydra on the spot because they think that that's how it works. It's not how it works. In there, assuming it's how it works and they're mistaken and they could end up paying for that mistake. Maybe. Yeah, like I think I think I'd be a little bit more lenient because it was like the way that I would approach that. I don't know if I would just straight out say like Oh, no, you're wrong. But in general, right, like what's the connect like to make it easier for a player to get in touch with the character, I think that, you there's needs to be like a little bit of overlap. So, like, if it's a mythological thing, what is the general knowledge of mythology in the world as well? Right, like what a character you know, like with Medusa's right like if you guys would have all immediately said Oh, turning away our heads because it's a Medusa, if you in the story would have figured out what it was up to that point, I would have said, yeah, sure, like the general mythology, someone somewhere would have read about Medusa's, right, m like they exist in the world. And do people? How much do people know about? Like? That's why I'm saying with like the great cloud of Meta gaining, so sure, like it likes you guys are yes, especially like with players who have been DM's in the past, if they've read stap blocks along the lines of things like basilists and Medusa's, and you know, they know that mirrors may or may not affect a battle, you know, in their head. How much does their player know,...

...though, or their character? And like, yeah, you, how do you? How do you navigate that line? Right, yeah, and I would think that this might be a better example to say with something like goblins or knolls or cobolds or something like that, right, because it's definitely something that most people would have heard about, like you know, Oh, goblins are going to try to steal and lie and run away. Everybody knows this. So deception checks are kind of not needed. You pretty much assume goblins are lying, right. It's not something that's gonna alter the fact like the fight too much because at the end of the day they're just goblins. But as a player, you're general knowledge as a player would also be the same knowledge that your character would have in some cases. Right. So that's why I'd be a little bit more lean it with that. Yeah. So second part to this question then, is how much, I guess, narrative power. I'm not really sure how much. How it's so say that, but in a fight, how much can a DM do actions that are described rather than the actions that are given in a snap block? MMM, so we instance. So, for instance, let's say, let's say all the players, you know, decide that they're going to run underneath a dragon because one of the scales is missing on its belly or that, or they've discovered that that's like an area that they want to hit because it's harder can be dragon then decide that they're literally just going to belly flop on top of these people that have decided that they're safe underneath it. Oh, absolutely right. Yeah, but I don't think that's like an attack. It's just like they're literally just going to flop down and you can try and dodge out of the way. Yeah, sure, I mean depends, like I would still try to follow the same term mechanics to allow it to be fair. Right, yeah, for Buddy. But I think with what you mentioned, right, is if a creature has a clear weakness, if it's an intelligent creature, it's probably aware of that weakness. So it's right, probably going to do things in it's a layer or in it's whatever that account for that. So one of the things as might be that could just be like an extra reaction that the creature is always trying to turn away from whoever's facing it or whatever. Right, like, as in a reaction, a quick movement could be like Oh, it moves its injured tail to the other side, like that's something that a dragon should be able to do in a turn anyways. Right, and it doesn't take too much away from the mechanic of a fight itself, right like, because I would say like, Oh, it's aware of this weakness just like flops down on top. Well, maybe I can do that, but then it's prone, right, if considered per on the next turn. So it has to use half the movement to get back up and move around, like there has to be some sort of tax to it, because otherwise it's just reactions and it just runs a little to umbalance, I think. But I don't know any thoughts? No, I think that that sums it up pretty well. Actually, I would I would assume the same. Cool. All right. Well, that's all I had for you guys this week. Thanks everyone for listening. We really appreciate it. If you guys have any thoughts on narrative power, I would love to hear it. Just shoot us a message and we will read it over and hopefully get it get to you basically the next week. Yeah, again, we're on Instagram at Royal City Society. Yeah, thanks again for listening.

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