When I was a teenager, my gaming group
loved twelve-hour sessions in which we killed one beast after another,
collecting scads of loot and experience points. Now we are more interested in
balancing combat with other aspects of our unfolding adventure story. Role
playing vs. roll playing. As a game master, I realise that maintaining this
balance begins with the structure of the adventure setting itself. To this end,
I have begun adopting the classic Hero’s Journey in my designing phase. If you
have no idea what the Hero’s Journey is, or have never considered it when you
are designing an adventure, then this post might be helpful to you.
The Hero’s Journey (also called the Monomyth, Hero’s Quest, or Night-Sea Journey) is the standard template for many fairy tales, myths and Hollywood movies. George Lucas was strongly influenced by Joseph Campbell’s version of it when he wrote the original Star Wars (now known as Episode IV)
The Call to Adventure
In the classic model, the hero is
hanging out in a stable setting until things take a turn for the worse,
prompting the hero to take action that will restore balance. Luke will never be
able to restore his home on Tatooine, but he learns of a greater threat to his
world and is challenged to save Princess Leia and prevent Lord Vader from
snuffing out the rebels.
In role playing games (RPGs), this
step is commonly ignored. As David Ewalt points out his excellent book Of Dice and Men, adventures often
begin with characters meeting in a tavern because they are bored or desperate
for money, and are actively looking for work. This can be a fun way to start
the gaming session once in a while, as it implies that the characters are old
hands at this sort of thing – consummate professionals. If this is your go-to opening,
however, try something new by pressing the characters into adventure via tough
circumstances thrown at them. Maybe the realm is going to be consumed; maybe
one of their beloved is kidnapped; or maybe an insane wizard has turned their
favourite tavern into a puzzle dungeon (kidding – don’t ever use the insane
wizard trope – it’s lazy story crafting and you can do better than that).
Supernatural Aid
Luke had the power of the Force;
Frodo had the power of the One Ring. Give the party something that not only
makes them special, but connects them to the greater forces in the story
(perhaps at a terrible cost, as in Frodo’s case). It can be as simple as a
revelation that they are the rightful heirs to a throne, or that only they have
the knowledge or talents needed to save the world. This information makes them
important figures in the story and it also gives them a special tool to wield
during negotiations at pivotal points (thus the “aid” part), though it might
also haunt them at times.
Bestowing the party with a key
role in the fabula is, of course, a campaign-level tool. Players do not need to
learn something amazing at the start of each gaming session, but you might want
to further develop at least one new detail to remind the party that they are those guys (and gals).
The Threshold
This is, generally, done well in
RPGs. When the characters embark on a quest, they enter an unknown space of
danger. Even if they can rest, they are not truly safe and sound. Emphasising
the threshold(s) of the adventure not only sets a tone, it allows you to show
off aspects of your world that the characters would find eye-opening and that
players will appreciate. Don’t just trace a new line on the map; remind them
that they are not in Kansas anymore.
Helper(s)
Vladimir
Propp does a good job formalising this concept (and many others)[iii].
I will use the term “helper(s)” here to mean items or characters that provide aid,
but do not supernaturally link the characters to the fabula. For Luke, I would
argue that these are his lightsaber, his droids, and Han Solo & Chewbacca. I
don’t know when, in cinematic history, certain helpers became comedic, but I’ll
cover that in my next post, “Adventure Design II: Using Hollywood tropes”.
In classic fairy tales, this was
an easy box to tick because a simple magic item could make a hero noteworthy.
In fantasy RPGs, however, magic items are much more common. Therefore, if you
want to incorporate this design element into your story, it has to be something
really special. This does not have to be terribly powerful, but it should be
something specific to that adventure.
Giving a character a kick-ass sword just makes them tough, but giving them a
key to a special lock that is pivotal to the plot makes them the Key Bearer. Luke had aids that
persisted after the adventure ended, but I prefer aids that are used up. These
are usually helpful during the Challenges and Temptations phase, but are
consumed in the Abyss[iv].
This not only gives each adventure its own flavour, it prevents your characters
from becoming Christmas trees over the course of the campaign.
Mentor
Your characters should have
someone to teach them about their supernatural aid (while providing a cheap and
easy vehicle for exposition). They should then have the good grace to step away
from centre stage, whether it’s by dying (e.g. Obi-Wan, Patches O’Houlihan[v])
or just by making themselves scarce (e.g. Gandalf). Of course, the mentor lives
on with the character in the form of their teaching, and this usually shines
through at the critical make-or-break moment at the peak of Act II (the Abyss).
In an RPG, having the mentor travel with the party is difficult if the mentor
is extremely powerful because they will
end up taking centre stage. Ways around this include having the mentor only
interact occasionally or by having the mentor be knowledgeable, but not
powerful. Finally, mentors are probably best used as campaign-level tropes, not
as a beginning to every gaming session.
Challenges and Temptations (aka the Road of Trials)
This section will be recognisable
as the bread and butter of RPG adventures, filled with monsters, traps,
environmental dangers, etc. If your game is feeling stale or a bit too
hack-and-slash, ask yourself how many of the players’ decisions and dice rolls
relate to situations other than
combat. If your characters have loads of skills and backstory that are being
neglected, it may be time to nudge some encounters in a different direction.
And don’t forget that temptations are a traditional part of this. If you really
want to see your characters (and your players) develop apart from just gaining
experience points, give them choices to make that involve sacrifice and moral
decisions.
Helper(s) (again)
Just before the big trial that
will be the peak of the adventure, the helpers (outlined earlier) often make
their appearance one more time. In a sense, it is a way for them to have their
shining moment in the story before the hero has to enter the Abyss on their
own. Luke made it into the Meridian Trench of the Death Star because Han Solo
showed up at the last minute[vi].
Note, however, that the Helpers are no help in the Abyss.
The Meeting with the God
This step is not listed in the
diagram shown in the blog, but Propp outlines it in his work and it is
important enough, in my estimation, to include it here. It is the Boss Fight.
Luke meets Vader. In Episode IV, Luke is simply being shot at by Vader; in the
following movie, Luke duels with him.
In many RPGs, this is the end of
the adventure, which is fine for a single session. If this is the boss fight
that ends a large section of the campaign, however, don’t let it end here. Move
on to the Abyss...
The Abyss
Also known as the Meeting with the
Goddess, it is when the hero must face his demons alone. It takes place in an
other-worldy space and involves an internal struggle that follows, and runs
deeper than, the Meeting with the God (the physical confrontation of the boss
fight). Luke cannot succeed with his torpedoes in the trench until he risks
everything and lets go of his technological aids to connect with the ambiguity
of the Force. Sitting alone (unless we include Obi-Wan’s spirit), he must enter
a trance-like state. In the following movie, he is left dangling above a huge
pit to confront the realisation that Vader is his father (the boss fight ended
when Vader cut off his hand).
As I stated earlier, you can’t
play this card in every gaming session, but it is a fine way to end a campaign
or a major section of one. To evoke such an ambiguous struggle, you need to
force the players into difficult decisions, preferably as individuals. My most
successful use of this was at the end of one of my “dungeons” wherein the
characters (and players, importantly) were separated. The voice of a powerful
jinn (whom they met earlier) then entered their heads and told them that the
party could receive the magic item that would help them to complete the
campaign, but only if one of them stayed behind (for 100 years) to become the
new guardian of the temple (i.e. that player would have to abandon their
well-loved and long-played character to start another). Each player was given
30 seconds to vote, in private and without consultation, on who should stay. It
was akin to the classic prisoner’s dilemma,
except that there was a non-player character in the party, so there was an
obvious choice if the players were willing to target her. In truth, it was a
bluff on my part. The jinn wanted to know who was the most pure of heart and
could be trusted with the magic item. The neutral-good cleric voted for himself.
He was the only one to do so. He was awarded the magic item and was transformed
by wielding it.
Transformation
The hero emerges from the Abyss transformed,
often branded with a mark that symbolises his change. Luke leaves the trench knowing
that he is a true Jedi and is given a medal. In the next film, he leaves the
Abyss knowing that he is Vader’s son and is missing a hand.
In RPGs, characters often “level
up” after adventures. While this ceremony marks transformation, you might want
to aid the campaign by making the transformation specific to the fabula. What
can the characters now do that nobody else in the world can do? If not an
ability, perhaps they are simply acknowledged by others for their heroism in
tapestry and song, but this makes them feel special beyond just becoming more
powerful.
Atonement and Return
Conflicts are resolved, loose
ends are tied up, Luke and Han have a heart-to-heart about their feelings for
Princess Leia. The characters can then return to their original homeland bearing
the boon of their adventure and may be a master of both worlds (the known and
the unknown).
In your RPG, don’t neglect this
part. Often, a gaming session ends late and everybody packs it in immediately
after the final battle or conflict. If this is the case, send an email to the
characters a few days later that explains what happened next. Did they return
to their shire as heroes? Did their actions set off any chain of events that
will help the players to get their minds ready for the next adventure? Follow
up is important to complete the story (this is also a good way to remind
everyone of pivotal events throughout the session and to pull it together into
a narrative).
In Conclusion:
George Lucas didn’t read The Hero with a Thousand Faces until he
was already working on Star Wars, at
which point he realised he was writing in accordance with the Monomyth, even
though he had not intentionally set out to do so.[2] You may find
yourself doing the same when you design your adventures. If you have not intentionally
compared your story with the Monomyth yet, try doing so. Create an adventure
using your gut instincts but, then, take a look at the classic structure of the
Hero’s Journey and ask yourself if your design could be improved by including
some classic elements (you should also consider adding some classic Hollywood
tropes, which is the subject of my next post). If you use every one of them
every time, your game will become predictable but, if you space them out over
the course of your campaign, it should resonate with truthiness[vii] and
feel more satisfying to your players.
Works Cited
[1]
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B. Moyers, Director, Joseph Campbell and the Power of
Myth - Season 1, Episode 1: The Hero's Adventure. [Film]. Joan Konner and
Alvin Perlmutter, 1988.
|
[2]
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S. Larsen and R. Larsen, Joseph Campbell: A Fire in the
Mind, Inner Traditions, 2002.
|
[i] Anthropologists and literary
scholars have studied the Monomyth exhaustively. I have not. While I try to do
it justice in this article, you should really go and read some of the key
authors if you want to develop a deeper understanding of the Hero’s Journey.
The most common reference for this is Joseph Campbell’s The Hero With a Thousand Faces.
[ii] Wikipedia user Slashme redrew this
diagram. It includes and simplifies features from Campbell, Propp, and others.
[iii] It’s a shame that the Propperian
random fairy tale generator run by Brown University no longer works (unless I
am just not able to find it?). The idea is that fairy tales are so generic that
you can mix and match random bits, as long as they are
placed in the correct category.
[iv] For Frodo, the One Ring serves as a
supernatural aid, but also fits into this category.
[v] I can’t help it. I actually think
DodgeBall is a funny movie.
[vi]
In doing so, Han Solo completes his own journey. He emerges from his own Abyss
wherein he had to decide what kind of person he really was. When he chooses
loyalty and valour over self-preservation, he redeems himself and becomes
transformed.
[vii] Merriam-Webster’s 2006 word of the
year, truthiness, describes
that which “feels right”, even if there is no other supporting evidence. In
this case, I am using it to describe what makes a story satisfying as opposed
to the most realistic way in which it might go (e.g. when Luke is being shot at
by numerous storm troopers, he gets hit in the chest and the story ends there,
unceremoniously, before he even gets the chance to utter any heroic dying
words).