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Triple Advantage
Triple Advantage

Season 3, Episode 21 · 1 year ago

Ep. 45 - The Mind's Eye

ABOUT THIS EPISODE

This week on Triple Advantage, we get SUPER meta talking about how we picture our
in-game worlds, Jordan creeps carefully into writing Intrigue campaigns, and we
gather around the fire to discuss your favorite holiday-themed adventures.
 

This week on triple advantage, we get Super Meta talking about how we picture our in game world's ordon creeps carefully into writing entry campaigns and we gather around the fire to discuss your favorite holiday themed adventures. As always, keep it locked on our social media to see what we've got coming next. Enjoy the show, everybody. On this week's echoes talents, we've been pretty busy over here at the Royal City Studios Society. I don't know. What are we calling this publishing branch of OURCS? Britain, Jordan? Any ideas? Our DM skilled name is now we're all cities society. I guess that's the name. We're sticking with, the Royal City Society Publishing Group. I don't know. We had praised ourselves. Yeah, it's too late, yea, yeah, no, turn down for a year and a brand wifty. Have the sense to us. We're committed. It's done. It's the year wrap up. We have to do one of those two right. Yeah, it's true. Yeah, guys, we've been pretty busy over here, so I haven't necessarily had the chance to look at the newest releases coming from early so this is not your usual echoes episode in fact, we're actually going to look at bringing back kind of those those a questions from the previous seasons that we've had here on a wonderful podcast which you should definitely go check out. There's a critical thought I wanted to know your guys is descriptive imagery like I sorry, let me wear it this better. When you guys are Dming, what kind of art style do you picture when you're describing scenes in your campaigns? There's something that I've been thinking about recently because we've been working on some new artwork for RCS published material and of course we're trying to develop some sort of unified style as that all so everything looks nice and pretty, but I know that when Idm I have like an imaginary art style that I paint everything with. I'm just wondering what you guys have as yours. Any of you can take it away here. Really, that's an open ended question. Where were discussion this week. It's an interesting question because it's not really something I've thought about, yeah, consciously, until you've until you asked us this question, and I don't know really, I'm trying to picture the closest thing I can compare it too in my head is like kind of like one of these newer video games that kind of falls into the Uncanny Valley territory where it's like it's like hyperrealistic to the point where it's like yeah, wow, you can tell that they did a really good job on this, but it's still very obviously CGI and there's just that slight disconnect between like, Oh, this is crazy photorealistic and then, oh, this is uncomfortable. Not. Yes, there's I was watching TV last night and they were running a cyberpunk two thousand and twenty seven commercial, big big F and the chat for any psfive and xbox users while I'm at it. But they had they had to count of Reeves, obviously on the on the commercial talking about, you know, only only way to be a criminal in two thousand and seventy seven is to get caught in that kind of stuff. And I'm looking at this ad and I'm like, I can't tell if Keanu is the only live action part of this ad and everything else is CGI, or if this is actually like a CGI Keanu reeves and it's just so well done that I can't tell it's a CGI. Ke on Riefs, which seems like a waste of money if they had the real key on you. But this is a longwinded way of saying that's like the closest thing I can compare it to, I think. Yeah, I mean I'm kind of in the same boat as Braden here, where I haven't really thought about it consciously. If I had to make a comparison, I guess to like how I would imagine the world, it would be probably close to something like Skyrim, just in terms of like what the buildings look like, the different ways that they bring in like there's all sorts of different races and stuff there, and so it's you can kind of like, I guess like that that would be my closest thing, although I'm not sure like the people...

...would be slightly, well, more realistic than than they are in Skyrim, but the buildings and stuff like that, that's probably accurate, because I don't spend a whole lot of time describing buildings. I spend a little bit kind of like saying, okay, there's, you know, there's a group of Yurts here that are, you know, maybe like ten feet tall and there, you know this color. But I don't go into a whole lot of detail, into like how they're built or anything like that, unless it's something very specific that I want to include in there because it's important somehow to the quest or it's a building that they're going to be using a lot. So but that doesn't that doesn't cover most most buildings in the game, at least so far in my camp pains. Most of the time when people enter a town, you know the buildings are more or less the same in that town and I'll describe like a basic building in that area and then say, oh, but there's also this one really interesting building that is slightly different from the others or really stands out, you know, like Oh there's this tower in this in this you know random village. Well, what's a tower doing there? And so the players can kind of interact with the difference between the norm that's in this village and the you know, big tall structure that doesn't really fit in. So that is what I kind of used to grab my players attention more so than describing a type of like art, I guess, style you may that's not necessarily what I met with that question. No, I know you're saying. I just honestly I don't really think about it. If that, if that makes sense. Like I don't go in there and I say, you know, I don't think about the scene itself in my head, like I don't picture it in terms of an art style. How do you pictures seem? I picture the people and, you know, the buildings are kind of just there the it's very fuzzy, though, because it's not an important part of my story that I'm telling the players. So it just kind of sits there in the background unless, again, there's something, some function. So if there's a lever that turns on and off, you know, fire that can shoot down from the ceiling, I will say there is a lever on the Western Wall, but I'm not going to go into detail about, you know, what this wall really looks like and I probably haven't really described, you know, the overall style and structure of this building, unless it's again important or serves a function to the story itself. That's okay, I think. So for me, I'm I guess I'll say I'm a little bit of the opposite, but I like to I like to understand the space that my players are in. Hmm, because that helps me sort of explain situations right, like, yeah, I try. I like when raw map. Yeah, so, like whenever whenever a visual is like needed, I, at least for like tomb for example, like I try to like jump into the first person sort of description of what you you you'd see. And I guess this this question, now that I'm thinking about it at loud, this kind of ties into I think this kind of ties into something a little bit deeper to which is just generally how you as a DM organize your thoughts, right, for quick access. Right. So, like yeah, like for me, I try to like I try to have that like mine map right, because it just helped me navigate things a little bit better. And then, especially with like, for example, like last week's campaign, right, like we had these rotating chambers. So for me, it like it's a little bit more fun to to just keep track of that like how all of that would kind of like rotate and space and whatnot. But, like, with regards to the art style that I kind of think of, I think, like a lot of my it's weird because, like I'll picture like my players faces sometimes on the characters because it's so hard to remember what everybody looks like like they're nude to described characters, right, like that's not natural to me. But like I usually picture scenes, I would say,...

...in like a kingdom hearts meets kingdom heart meets, oh shoot, lost planet or something like that, because I love that like Atlantis kind of cartoony art style. So for me, like I like, I don't know, that's how I kind of imagine the campaign's happening. It helps me imagine like these sort of grand moments with characters to if it's everything's just a little bit more cartoony in nature. Right, but of course, like it's also about the style of campaign you're playing, right, like if you're playing like a true great type of everything's Noir type of campaign, right, then everybody's playing like that's that's part of the feel of the like the atmosphere of the of the game world itself. Right, so that might affect it, but I don't know. Like we've been working on some art for I guess by this time it would have been announced, but but for a kringles wondrous workshop, and it just got me thinking, like how do we want people to picture our things? You know, and obviously this is all like modules and whatnot, so they can change and modify everything. But you know, how do we present ourselves? And then I started thinking about like how I present ideas at the table. So I don't know, Braden, what about you, like how do you kind of keep your ideas organized and flowing? For that RP explanation, let's say this imaginary art style right. It's it's an interesting question and I want to kind of bounce back to something that both you and Jordan have touched down really briefly, that I've been thinking about for a bit, not in the context of art but kind of in the context of the game and it's a whole, and thinking back to the idea that no matter what you're picturing, so art style or yea describing an MPC or describing a building, there's no guarantee that your players are picturing it that way. Now. So I recently back back, like nine months ago, back when we could all actually see each other, I ran in session person's and I have a huge, huge pad of inch by inch grid paper that I would use to physically drive out every single map so that everybody could have like a solid we would all be on the same page of at least the dimensions of the room, approximately what they're looking at. What's in them, certain functions of it exactly now. And and Carlos, you still run that through your kind of virtual table top thing that you've got set up that we're going on. I've switched pretty much exclusively to theater of the mind. I did fantasy grounds for a bit, but I decided I didn't want to pay for it just before the pandemic started, and that was a mistake. But I'm I've been running exclusively theater of the mind and now there's no way to get everybody necessarily on the exact same page about what they're looking at. And especially, I think it's a different stories, for like when you're going through combat in every single person's like okay, so what's the scene again? You got to redescribe every single step that's been taken. Yeah, I think that that's half because people aren't paying attention and half because of the disconnect there. But right at the at the same time, like it's it's hard to say what I do to keep my thoughts organized, because these days I have like I have very written descriptions about what I picture sessions going like, but everything else is going on up in my head, because there's no point in me drawing it up because I'm the only person that I'm drawing it out for right there. I up until this point have had I guess one of one of my group members was able to use an APP to kind of just draw out the map as I described it to them, which was kind of fun because it let me like kind of see if if the group members were able to understand what I was saying in terms of what the room look like. So I would describe the dimensions of the room. I describe, okay, there's a chest on this, you know, this eastern wall, and it's built into the ground. I'd say, you know, there's sconces that go down this hallway every ten feet or something like that. If and it was interesting just to see like okay, yeah, they're actually getting this there, you know, they're drawing out the store. Occasionally I'd have to be like no, actually, the door is like another five feet over to the West or whatever. Or nope, that's not quite right. I I meant the southern wall or something like...

...that. I'd have to redescribe a little bit, but for the most part they were actually getting what I was saying in terms of like the dimensions of the rooms and things like that. So it was really fun to just kind of like have my players almost draw the map out for me as we went and I it. I think it got them to kind of like pay attention a little bit more to what it was I was saying and then they would ask questions about, you know, Oh, is this, is this what you meant, like and I would say yes or no, and I'd kind of like figure it out with them, which was a lot of fun, I think. So I want to try and keep that up as much as possible. But if if I can, I will have like pictures of like important maps and things like that, just so I can get like a true visualization of like, okay, in this room there's, you know, there's this bed or there's this you know, really important like chest off to the side, or you know, there's a body here, there's a symbol there or whatever. If I can use, you know, pictures that are already kind of drawn out, then I don't have to go into the room and point out each of the different things that are important, and that means that the players have to do a little bit more discover free without me just like pointing out, Hey, there's a hook here, there's a hook here and there's a hook here. You know, you should check these things out, but rather they have to go okay, well, yeah, they're that. That's interesting. What's this? So I'm not sure which style I like better. I think it just kind of depends on the situation. Yeah, and I guess I kind of relates to the interactivity of the game itself. To right, I mean I thought it's a really cool concept. Actually mentioned that, to have your players draw out the map as they're exploring it. Because I mean, realistically, right, if you're talking about in game, a map of water deep is probably really accurate, because there's lots of people that live in water. To you've Ben Right, something that can get constantly updated. But you know, if you have your players draw out a map live of them going through a dungeon, HMM, that kind of speaks to you know, going back to okay, well, if people are exploring uncharted territory, who's going to be mapping all of this? Yep, right, and then those kind of in those kind of tools become the resources that your players have later on. Right, and they can either share that or they can keep it to themselves, but either way, if they poorly drew a map in character, well then that's your resource now, right, yeah, so it might be a good way to incentivize, you know, note taking, and I think we've talked about this before, right, like when we're talking about having like a communal notebook resources, right, or having players collaboratively add to something together while the game is running. Right. I know cartographers tools or supplies or something is a thing also is in dd that you can have proficiency with. So I wonder like how that would apply if someone did have proficiency and cartography. Do we you know? Would you then say, oh, I'll describe the scene twice for them or something like that, or or would they be able to sell the map later? It likes? So what this would be? The advantage of this touches on something that I actually find and I've been sort of playing with this concept for a little bit. So we just as a little background here for this little this is really rough, but it's just like a drop of thought here. But between the table, like in the game space, right, and the player space, both your kind of playing dd twice, right. You're playing DD as like a human being being around other people, socializing and you're playing dd as, you know what you're able to do within the game, right, and the same thing that we be playing dominion, right, we all gather around the table and we play the card game and we enjoy playing it to other. But also there's the element of what are we doing in game, right, and what dnd offers is something that's really unique to this kind of interactive genre, right, of board games, where you can kind of cross those boundaries as rules. Right. So, let's say you have a player, for example, with no proficiency in cartographer's tools. Well, you know, if you've introduced a mechanic in the game of like communal note taking, right, some sort of communal resource gathering, well, maybe you just leave that as is, right, but if the player has proficiency in those tools, you, as a DM can step in and, you know, improve the output of that...

...player to make it more accurate, which then ties directly into that character right. Right, and it's one of these things which is hard to implement. If you're telling that to do, if you're telling that, if you're if you're making a player do that, right, because these are things that should be free actions, and free actions I mean like just no input required. From you as a human being, because you might not be a good part. You know, you might. You obviously don't have proficiency or chhotographers tools. WHO has that? Usually is right every session. No, no, you know, like in real life. Yeah, don't. In real life, I bring my actual chotographer's tools, right, yeah, but these are these are little things that, for example, you can, you can, you can cross these boundaries in this like t trpg space. Yeah, and it's and it's really cool and it's something that I've wanted to start to explore. And the one of the one of the areas, for example, is languages, right, because I mean this is obviously as per or your comfort level or whatever, but I think it would be really cool to run a campaign where, if there's a language that isn't known in the Party, I can just start speaking that as a DM, because that would hit you in a completely different level as a player. Right, if I'm saying something like Hey, this character says something in a language you can't understand, well, now you know there's a little bit of something behind there. Right, like it. Right, it makes it activates a little bit of inquiry, versus if somebody starts speaking to you in a completely random language that you do not understand, you get hit with confusion. In the real world you don't starting quite like maybe if you're looking for information or you're trying to commune. Okay, right, like you, maybe you start to, you know, look and try to meet halfway with the language, right, but you don't necessarily go like, Oh, there's knowledge behind there, I must get right, because that's like a that's like a mechanic that all video games kind of have. Right. So, yeah, I think when, when that? It has happened in my party already actually, and I kind of just started saying random sounds and fake crazies and and, yeah, kind of like put it that way. And then they go, Oh, what what does he say? And I say, right, you don't know. You have absolutely any no idea for you, but it was just kind of fun to do that. But, you know, see what I'm saying then, right, yeah, that's that. That's that, that's you. You're hitting the player senses. They're not the character senses, and there's a there's a distinction, right. Yeah, so that's something that I've really wanted to explore with with the genre, especially now that, like you, become a better DM and like the less you know, the game rule stuff is more known now that you can kind of start expanding into other territory. What about you, Britt have you ever thought about doing anything like this? Is it's it's interesting. I don't it's a cool idea and it would require a lot of work from both the DM and the players, because the DM would have to thanks. Here's where I disagree with you. Okay, I would disagree with that because I would say this is entirely on the DM's side. This is not something players should need or have to track that and maybe that's just like the way that I approach the like the way the player, you know, plays the game. You know, doesn't have to work for the game. They that's my idea anyways. Maybe you can have a different table, but like, that's where I would disagree there. But continue. I just well, I think that at some point there will have to be some kind of if if let's use the map example for example. Yeah, the map is definitely more player related than lets yeah, I know some players that if I was like, you're not getting a map, you'd have to draw when, if you want when, they just be like no, yeah, forget it. That's true. Yeah, like, especially the new players, you don't want to put that on them, like that extra work for them. They're already trying to learn how to play the game, how the mechanics work, getting a feel for what a tabletop RPG really means in terms of role play in that kind of thing. So you don't want to add anything extra onto them. For veteran players, maybe that's something you can say, yeah, you know what this is, this is how I'm Brunning my game. Your veteran you understand how the basic mechanics works, so you're get to learn something new today, kind of thing. Yes, I agree. Maybe that, maybe that's just like an initially rough thought there, but yeah, yeah, and I can understand that, right, because there there would be some sort of agreement with the players to be like hey, you're all writing in a notebook right now. At least that that relates back to something else that maybe you as a DM extent. So that's maybe that's that's the that's the space where I was thinking more of. Yeah, you as a DM, have the choice to...

...escalate that information or tool to whatever level you want, right, but yeah, I don't know, that's something that that's me in the race for the last a little bit, because I think they're like when we're talking about things like mystery campaigns and intrigue perhaps, right, like all these things are things that you, as a player, approach differently than the character, right, and that little boundary is something that I want to explore as a DM because I think there's a lot there, and I think there was a lot there for, you know, like a game system or something like that, like. That's kind of what these things are based out of. Right. So I was starry. I Art Start Art style let into game mechanic, but one doesn't not. That's right, they're basically the same thing. Let's say pretty much what I wanted to air out this week. Do you guys have any extensions or other thoughts? Has I'm sure that we'll continue this conversation as long as we have this podcasts. Braden, I kind of cut you off a little bit there, I feel like. So, were you saying something else or did you say all you wanted? Those all right, shout. I think we'll get to move on. If that's the case, then let's move on. Guys. We are making our way through the Dungeon Masters Guide. We're on page seventy eight. We're talking about different types of event based adventures, so fall along if you'd like to. We're going into an intrigue adventure. So Intrigue Adventures are event based advent ventures that revolve around power struggles. Intrigues are common in the courts of nobility, but power struggles can play out just as easily in the merchants, guilds, crime syndicates or temple hierarchies. Rather than dark events and villainous plots, and intrigue adventure typically revolves around the exchange of favors, the rise and fall of individuals and power and influence and the honeyed words of diplomacy. A prince's efforts to be named air to the throne, a courtiers ambition to sit at the Queen's right hand and a merchant's desire to open a trade route through enemy lands are stuff of intrigue, like all adventures. Intrigue Adventure only works if the players and their characters are invested in the outcome. If no one cares who the king's chamberlain is or who is log who has logging rights in the Elvin Woods, throwing the characters into an adventure centered on those issues will fall flat. However, if having the ear of the king's Chamberlain means that the characters can use royal soldiers to help them defend their own stronghold on the borderlands, players will be invested in the scenario. Adventures usually become embroiled in intrigue when they need a favor from a powerful creature and have to perform a favor in exchange, or when the plots of powerful NPCs get in the way of characters achieving their goals. Some of the event base goals discussed earlier in the section lend themselves to Intrigue Adventures. For example, if the adventures must uncover a conspiracy, negotiate a peace treaty or secure aid from a ruler or council, you might be looking at an intrigue adventure. The process of creating an intrigue adventure is similar to creating any other event based adventure, with two main differences how villains are handled and how the characters can gain influence. Big Section intrigue is definitely interesting. I would love to kind of like see a full adventure that's that's just intrigue, like a full campaign, almost just to see how that feels, where maybe everyone's kind of like a noble and they're trying all they're all trying to buy for power some thing like that. But it's definitely something that is more either higher level, I find, or for veterans who understand or or or are interested at least in doing that whole role play thing. I know a lot of players are more interested in the combat side of things, the action. Say, yeah, I think, but you get sorry, I mean no, just like for the most part, like I think most of our group of players, I think, fall into the the combat set the things, and I think that just talks to like the games that we played before, right, yeah, always been playing like strategy and some sort of tabletop yeah, or game or whatever. Right, HMM. I know my wild mound group is like half and half right now. Half the group is URP and...

...the other half is like knock combats, the good stuff. Yeah, I mean like combat, as I feel like we're a lot of the classic good memories are formed from Dandy Right, like the we defeated the boss with whatever. Yeah, exact. It's interest. It talks to some other stuff with like how do you drive that interest in players to do, you know? Yeah, you almost have to have the RP like in there in order to drive that combat into something that's more than just mechanical and like Oh yeah, I like, I wouldn't be able to picture an entry campaign be combat only, right. Yeah, no, for sure. My my players at one point kind of started their own intrigue session and that quickly devolved into absolutely nothing, because at the beginning of the campaign that I'm currently running, you know, they were presented with all these gangs that were running this town and then this kind of shadowy puppet master that was orchestrating these gangs, and their thought was, what if we because by my I had set it up thinking that they would just kind of likes go around systematically like taking down these gangs and then figuring out who was behind it. But they were like no, no, we're not going to do that. We're going to actually become one ourselves in order to pose as somebody in this guy's employ so that we can kind of like work from within and slowly systematically dismantled this empire. And I was like that's a really cool idea, and then that instantly devolved into them just killing everybody else anyways. So for a very short time it was a really cool concept that I hadn't come up with and it was a lot of fun. HMM, yeah, that was fun. Yeah, but our crew is definitely very murder murdery, you know. HMM, stabby, stabby. All right. Now the important thing of the intrigue that they're talking about how villains are handled and how the characters can gain influence. Let's let's move on and kind of get a better idea of what they're talking about here in the dungeon master's guide. So for villains, they say some intrigue of Adventures are driven by the actions of a single villain, such as a noble plotting the assassination of a monarch. However, an intrigue adventure can have multiple villains or no villain at all. For no villain, some intrigue adventures revolve around the exchange of favors. In the absence of a villain. For this type of of adventure, skip steps one and two of the event based adventure creation process, which is the villain and the villain's actions, and to move straight into the adventures goals. In step three, figure out why the adventures become involved in the intrigue and then spend the bulk of your time creating the NPCs they interact with. I feel like that's important, regardless the yeah, for sure, season in true campaign are huge. Yeah, because they're going to be the people that give you the favors and the influence and the reasoning, I guess, behind doing the intrigue in the first place. Right. Yeah, it's it's definitely interesting having no villain at all because, as Braden right as has to there's a there's a high probability that the players may become villains themselves in the process intrigues out of different though. Yeah, it can be that you're moving towards a noble goal, for sure, but without a villain to kind of like point out here's the bad guy, players might be more willing to do things that are a little bit more on the gray side of things, or at least morally speaking. Yeah, I think anyway, but maybe that's just me. Okay, the other way that you can run a intrigue adventure is to have many villains. Some Intrigue Adventures Feature a whole cast of villains, each with its own goals, motivations and methods. The adventures might be drawn into the struggle of a court full of nobles vying for the throne in the wake of a king's sudden death, or could find themselves negotiating the end to a deadly turf for among thieves guilds. In this scenario, you'll spend a lot of time on steps one and two, developing each of the major NPCs as distinct villains with an agenda. And step five, you'll need to develop each villains reactions to the potential setbacks they faced during the adventure. However, you don't need to put equal effort into the detailing, into detailing the reactions of every villain, and since many will likely echo each other or cancel each other out, whenever the adventures foil one of the villain's plans, it...

...might let another villain scheme move forward, advancing the adventure, whether the foiled villain reacts or not. An interesting concept for sure. And Yeah, it's kind of just saying anytime you stop one person, another person has therefore automatically moved forward. It's it's our all buying for one thing. I mean, intrigue is politics, HMM, and this is this is just politics. Yeah, which is which is part of why I don't like talking politics with people anymore, because so many people are like, there's such an easy solve to x, Y or Z, and I'm just like, looking at this, so this is exactly like they had in a nutshell. Yeah, you do one thing that might accomplish something really, really well, but it does something that sets something else onto a more tagot trajectory. Yep, yeah, never since, as it seems, you're going to be really so smart. It almost is not. It almost feels like you can't win. You know. Well, I don't think that's correct either. I mean it's very difficult to at the very least, especially for players. Like if it was easy, it wouldn't be fun. Yeah, I think you know what. It's interesting because, like all these things are like the we've been talking about unique campaign styles for the last little bit, right, but I think I think this really speaks to how impressive it is for people like Matt Mercer to run campaigns right, because his campaigns have all of this kind of intertwined. Right. Yeah, your characters choices or being driven by episodic or small ARCS, right, but the outcomes of those arcs do have impact on the geopolitical state of the area that they're playing on. Yeah, right, so I think it's it's to what level you want to add it to your campaigns. Right, if you're running maybe a completely intrigue base campaign, like you said, right, like, yeah, you could have to maybe maybe every character is you could play it from the perspective of like a wizards guilt, right, and you're a cabinet member and a wizard skill discovering something, right, but like the scale of events has to match the campaign. MMM. So, I it's hard to say of running an entry campaign when, hey, why aren't you, you know, saving the thing for like saving us from the giant monster dragons that are destroying the world? Right, like why? Yeah, it's intrigue. Is Intrigue a big thing in this campaign setting during this time? Perhaps? Well, I can't let that person get into power, you know, have terrible that would be for this kingdom as a whole. It's very important that I stay here. Will our village is bird exactly. That's yeah, I'll be it on the nose. Yeah, it's it. Yeah, it's definitely like an interesting aspect of a campaign and it would depend on each each individual group with Wad hook onto intrigue differently than others. You know, for some it's probably not important at all and they'll completely disregard the political situation in any given empire, government or whatever. They'll just kind of be like yeah, whatever, they can do what they want. I'm going to go and kill some monsters kind of thing. Or, you know, the people are more important, so I'm just going to save them, or whatever it is that their goal is. Will it's quite possible that it has nothing to do with the the intrigue that surrounds the courts. But maybe some of them will be like, oh no, this guy is clearly evil and we can't let him get into power, so we're going to spend a whole lot of time trying to foil his plans and boost this other guy up so that he can take over or something like that. There's yeah, I would say totally depends upon the group itself and they'll latch on differently. So it's hard, I think, to like plan that in advance. You kind of just have to like throw a tiny hook out there, see what happens and go from there. Almost, I would say, at least in an in a normal campaign. It would be very difficult I think, to write a full intrigue adventure without a campaign surrounding it. What do you guys think? Do you think it's possible? I think that's probably possible, but I think that I think that investment in the world helps and it's really hard to do. Yeah, with a one shot. Yeah, I got that depends. So, like what kind of players, right, because new like people who are just getting into the game, may be more difficult. Like every time I...

...run a campaign with Matt, for example, he's able to just almost jump into any character role pretty quickly. So it depends obviously, but like maybe you're right with that though, right, like maybe after the players have been established, a has the local heroes. Now they run an inkury campaign as those characters. It gives them a little bit more merit because that title is could be affected, right, exactly, that that general knowledge of their characters could be a little bit more impacted. And again this is one of those things that wishywashy between the boundary of you know, you as a player caring for your character. You want them to be cool or you want them to have some sort of perception and with that's not happening a game. You get frustrated as a player. Right. Yeah, I'm going to latch onto something else he said there, which is kind of like you talked a little bit about influence to a certain extent, like once they become heroes of some sort, so they already have a title. In other words, they've gained influence with some group of people, or or at least one person, things start to happen. So I'm going to describe that now in this part, because that's that's something else they go into here. So, depending on the scenario, you might want to track the party's influence with different NPCs or factions, or even track influence separately for each character. One Way to handle influence is to treat it like inspiration. A character gains influence in a certain situation only if you grant it, and bringing influence into play requires spending it. Characters can gain influence by doing favors for NPC's, advancing the cause of an organization or demonstrating their power and heroism. At your discretion, as with inspiration, a character can choose suspend influence to gain advantage on our role relevant to that influence. Another way to handle influence is to treat it like renown, see chapter one. So we talked about this earlier in another episode, allowing characters to gain renown at court and within various key factions. The renown idea intrigues me right now. I think was repurposed as an actual mechanic for Ravnicka, or guild master's Gat to Ravnika, because as you work within your guilds, you actually get down and that gives you an actual statable level and that level of influence in your gils gives you actual in game, very, very like tangible perks, vers this abstract concept of, like you get favors, which is cool. Yeah, yeah, renown. I think I'm going back here a little bit into the Dungeon Master's guide. I I looked at it earlier. It does actually have like it gives you the idea of coming up with different ranks, essentially within within whatever order you are pursuing. So and then as you gain influence points, you gain a different rank and that different rank gives you different benefits. They don't exactly go into detail about what those benefits are other than like you gain allies or of a certain level, or you gain, you know, access to certain reliable contacts or stuff like that, but it's all very like loose in terms of like you can make it however you want to make it kind of thing. But that's kind of cool that they include it in Ravnika as having specific like like it. They've already set it out for you, like here's the different ranks that you can have within this individual guild, and now you can do this and now you have access to this and now you have access to that. That's that's kind of awesome. Repnickas, I really really need module if we, if if you haven't read Ravnika, listeners, go out and read some stuff into Ravnika, because it's a really cool setting. Okay, I want to quickly go over framing events and then I think we're going to call it for the DMG at least this week, and then I'll hand it over to you. Okay, that's good. Framing events. So you can base an entire adventure on a framing event or use an event to grab a player's interest. The framing events table presents several ideas, or you can use it to inspire you own framing event. So this is kind of interesting. It feels like what they've written in here it just feels like they've left it really loose and they haven't given you a whole lot to work with. Like, for instance, a framing event might be an execution. Okay, well, that execution can be of anyone...

...or anything, and that's essentially like this is what's happening. Your players see this and now run the campaign from there. It doesn't give me a whole lot to work with, so I wasn't quite sure that what they were doing, but I would almost implement these different framing events into the different types of adventures that they've talked about earlier. Well, I think that's the idea. Like this, this, to me, is the opposite of what it was complaining about when we first started the adventure section, which was the part where it was basically like it's just, it's just, it's just writing the adventure Fort You, like, why is it just like giving you all these very concrete ideas here and now you've got these very, very brief snippets and there. I don't think they're meant to be like okay, just throw this in and then go from there. I think like you're supposed to read this list and then can I go like Aha, okay, and then spin that off into something? Yeah, yeah, for sure. Thus, the like frame of whatever adventure is exactly so, like like a funeral. I don't think it expects you to just, yeah, drop the funeral and now I'm know. Yet I think like a star Betu. Yeah, you're welcome. It's supposed to be like, okay, funeral, and then you're supposed to take funeral and run with it and go, okay, now, what can I spin off from a funeral? It's an entry campaign. Maybe the king's just died and they got like eight factions vying for power and you can use the funeral to find out. Yeah, people's thought. So if you're ever, if you're ever looking for like a, you know, basic idea that you can like implement into your campaign or whatever, then you can just go, okay, what's a cool event here that I can run oh look, that a full moon, or oh look at that, there's a planar conjunction. What does that mean? Let's find out kind of thing or whatever, and you just kind of like write your campaign after that, or your adventure module rather. It's interesting, but yeah, that that's all they have for framing events. Next time we're going to get into complications which I am excited to kind of talk about. But yeah, for now, Britain, I will let you take it away here. Sounds good, Jordan. This episode of triple advantage is brought to you by kringles wondrous workshop, the first truly collaborative module coming out of the Royal City of society, written by several of US working in conjunction. A fun three to five hour festive adventure for level five players, complete with eight usable maps, a ton of really, really cool holiday atoms and just the right amount of holiday cheer. Be sure to check it out on dams guilt to search Royal City Society. It is pay what you can. Pick it up and let us know what you think, because we were really excited about this one. Was a lot of hundred creed. But now it's time for talk of the town, the section where we ask you the Society of question, that we respond to that question and discuss your responses to that question on this segment, and the question for this week that we responded to, and you've said that is a mouthful every time you say that so much like the question is. What was the question? The question? Do you throw me off car? The question is. What is your favorite winter or holiday themed adventure to run or that you have run or that has been run for you? A Ha, a Ha Aha, winter themed, a winter themed, winter themed. That's funny. My entire campaign modules so far, or campaign that I'm running in wild bound, is taking place in the gray and wild lands and Isle Cross, which are far north, has lots of snow and Isis Will Cross is essentially a Tundra all the time. So I mean my entire campaign so far is winter based, I guess, in that aspect, but it hasn't revolved around Christmas or anything like that. It's just that there's a lot of snow and ice and creatures that are meant to survive in said Arctic environments. Have you had a session that's maybe a little bit more festive than the others? Not yet, not not in that campaign anyway. I am working towards like I have a calendar and so far they've made it through about two weeks of the calendar in this campaign, so they haven't quite reached a festival kind of day or anything like that. But a really cool night called the night of ascension is coming up and I have a big thing kind of planned for that if they choose to make it back for for that event in time. So when that happens there will be an event, but it won't be a normal festival. It'll be more of an interesting, like ritualistic night. Almost the festivals there. They started the...

...campaign actually a few days after one of the major festivals, winter festivals anyway, so they kind of like bypass that. But there will be another one coming up, I guess in the next month in game. So maybe something will come up then. But other than that, I guess I have run one with you, Braden. I'll be talking about that. Stn't Dick to tod yeah, so I won't. Yeah, I won't go into that, but it was that. That's that's definitely the most like festival, like winter, the type Christmas Eve themed thing that I've that I've done for sure. Okay, Carlos thoughts. Well, I've only ever run one other winter, frost maiden eat themed a campaign, and unfortunately work got in the way of the conclusion of that campaign, so I haven't even finished that. I'm sure that the players are would all still be eager to finish the story, which is I'm finished. D Ind stories are the worst unfinished. The ind stories are so common to make them not the worst. Yeah, but yeah, other than that, though, I am going to be completely biased and say that kringles wondrous workshop is one of the most exciting things I've gotten to work on in the past. So I'm excited to run that myself in the coming weeks. I think probably I'll try to get a group. I'll have to talk about who you already ran at with, because I think you're doing that today. I'm doing that on Monday and also today I'm running running. Yeah, you're doing it shot several times in the next yeah, next week it's it's Tis the season. Maybe this is a great time. If anybody in the society is interested in running this workshop, this workshop, this this workshop, one shot with any of us, shoot us a message and we'll see what happens. Yeah, that is actually this is the perfect time for that. Yeah, the vacation next week will be nice. I will have the time to do this. But anyways, that's my answer. Mine. I'm going to pull from one. Jordan's already mentioned that he was in this campaign when I ran it. It was a lot of fun. It's on DM skilled in is called in the Black Midwinter. It's a very, very fun session. It's three to four hours. We played through maybe about an hour of it because we had limited time, and about two of those hours were spent helping character creation that I was told was already done. So that was fun. Yeah, but basically you're being sent off to it starts off with you chasing this creature across the the frigid north and then the failing. Their first fight is essentially a red herring, at which point you end up in this very mystical ethereal village where something has happened and you need to figure out what's happened and figure out how to fix it. And this has got so many winter and Christmas themed tropes and references it blew my mind like a references home alone a reference is diehard, because it's a Christmas movie and you know it. It references like every standard Christmas movie that you can think of, Rudolph, Santa, Claus Collas. The Christmas movie just means that there's a tree with Christmas things ornaments on it. That's all it needs, right? Nope, but it's got it's got a really cool, fun object called the deck of Merry things. Which is exactly as fun as it sounds. Yeah, and I was just looking at it because I couldn't remember. I remember the adventure very vividly, but I couldn't remember the name of it. And I got a shout out the creator, shot Simon Perrin's, because he has actually gone through and, without updating the cost or making it more expensive or anything, redone everything for use and virtual tabletops, because two thousand and twenty sucks and that's the only way that a lot of people can play this Christmas. So he's gone through, taking a bunch of time and just rewrote everything to be used online so that you can still run this module even though you can't all be together, which I think is awesome and I flawed him for that. But that is my answer. Taking a look at what the society said. Now, when I posted this question on Instagram, what I said was what is your favorite holiday themed adventure? Now we're a D D account, we post D D content, so I didn't think I had to put...

...d d in The question. What I got in response was our good friend, they get to power plant on instagram responding with his favorite holiday theme adventure being a trip to the Lcbo for listeners. I know we got a lot of listeners down the space. The LCBO is the Liquor Control Board of Ontario is the liquor store and right now that is absolutely an adventure. So so I'm allowed. Yes, good answer. They get to power plant, awesome, that's awesome. But I got that holiday knoll. Got To get that noog. It's yeah. But turning over to twitter, I had a very, very awesome response. I was having a bit of a back and forth with a twitter user at very variant who was talking about how they have a DM that runs like an annual holiday session. It's not usually like the same thing. They always try and switch it up, but I was asking what their favorite was and they said I played a three foot tall gingerbread cookie, gingy toll house, who was the thirteen of a Baker's dozen hell bent on eventually their family, who Santa Eight, and another player in the campaign at variant Jj to play the Grinch, who started the game with only a bag of holding and ended the game with literally everything else in the game. That is awesome. I've I need to know what they were running because I have to run them. It's just so so, yes, but that does it all, but that gingerbread story just is fantastic. Sober again, I would love to see someone play that. That's so cool. That does it for this week's triple advantage. I'm not sure if we're going to have an episode coming out next week. I think we're going to have to talk about that because we have a lot of the holiday. got a lot of stuff going on in the next week or so. So if we don't see you, society, then happy holidays from all of us. Be sure to let us know if you're doing anything really cool over the holidays that's TT RPG related. We love to hear about it. Make sure you check out Kran Kringles wonderous workshop. That could be one of those school dd things that you do over the holiday. For sure. Stay locked on our twitter, our instagram and our discord. That's at Royal City social on twitter at real city society on Instagram. will be posting updates and new questions even throughout the holidays, and just be sure to have fun take care of each other. We're almost through two thousand and twenty. Everybody. We'll see you next time.

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