Still working on the Skaven game; I’m playing around with writing it in iBooks Author, just to see how that goes. It’s amazing how using a particular piece of software for the creative process can really change your approach. Generally, when I’m designing my own adventure, I start with a core idea or mechanic–usually some story element that cracks me up. (One of my early Warhammer adventures centered on an illegal pig fighting ring, for instance, and was designed to give the characters a chance to get a pet attack pig.) From there, I think about how the players might interact with the whatever-it-is, and then I build a story to get them there, give them a reason to get involved, and then give them an open-ended resolution that can lead into something else. This tended to involve (at the early stages) pencil and paper and random notes; at the middle stage, a trip to my computer to use Campaign Cartographer to make some maps; and at the end, several trips to Photoshop to make adjustments to player handouts or aids like the pet pig sheet. With the exception of the player handouts and maps, everything I made was designed for my eyes only, and things that didn’t interest me much just never made it into the adventure notes or into my head.

Notes from an early Warhammer adventure with the player aid for the pet pig.

My sketch of the area and its Campaign Cartographer version.

This time around, though, I’m working directly in iBooks Author. The tool itself is designed to market an idea attractively, so I’m reminded of my audience, both fellow GMs and participating PCs, at every turn. The constant reminder that I have an audience forces me to clarify everything much more carefully. For instance, how much do I really know–and how much do I need to know–about the setting in which this Skaven adventure will take place? Once I’ve figured out the core of my adventure, I tend to get a little bored with the details, so I have a tendency to think “well, it’s just something roughly like X, and I’ll figure it out on the fly if the PCs ask about it.” In this adventure, for instance, I found myself deeply uninterested in why the Skaven would want to meddle in the town’s business; I just want to get onward to the Skaven causing a bunch of mayhem! The rats’ motivation is actually a key question, though, and I know my PCs will end up asking it in some form. Once I’d decided to dedicate a section of the iBook to the Skavens’ mission, I forced myself to define the background behind their meddling, rather than just tell myself I’d BS it when it came up.

I’m also having to think more carefully about other alternatives as I write out the adventure. In Mouse Guard, a “mission” is made up of a mix of four kinds of hazards (weather, wilderness, animals, and mice.) The game recommends that the GM choose two of these to start the mission, then hold the others in reserve for plot twists. If I were making my own pen-and-paper notes, I’d probably just jot down the main two and figure (again) that I’d BS the others when the time came. Yet the act of making neat charts of the hazards in my iBook made me want to be completist, so all four hazards went on the page. I know I’ll only focus on two to start, but I now have the others defined for reference.

Some background on the setting and a map.

The glossary feature of iBooks Author.

The glossary feature in iBooks has also made me particularly careful. I’m making each NPC his own glossary entry, which means it’s easy for me to go back and forth and make sure I’m getting all of the pieces connected solidly. (It’s also making sure I use the same name for the same NPC if I write two different parts of the adventure at different times. I’ve been known to switch them around a bit. Heh.)

It’s hard to say whether or not the change in preparation will make my game better or worse, especially for a Mouse Guard session. MG relies on the GM being open and able to bend; on the other hand, my PCs like fleshed-out stories and deep development of the world’s background. I hope that the additional background information won’t make it harder for me to bend the story in the directions they want to go. On the other hand, I do think that knowing more about the story I mean to tell may end up helping me make those plot twists seem more in tune with the rest of the story and seem more realistic. Because, let’s face it, there’s nothing more important than realism when you’re dealing with talking rats with warpstone guns.

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