Saturday, October 12, 2013

This is a very interesting iTunes U podcast.  It comes from the Apple Distinguished Educator series.


Course Description

In an era of ubiquitous information technology and open access content, we believe that the primary purpose of education is changing. It’s now more about the environment we provide than the content we deliver. Similarly, we believe that the primary purpose of professional development is changing. Just as a classroom requires engaged, self-directed and passionate learners, so does professional development. The course will motivate and equip individuals to develop a culture of innovation and excellence in education through self-directed professional growth.

This iTunes U course provides a wealth of interviews and instructional materials that can help teachers create a culture of change. Designed for K-20 educators, the assets guide the user through self-directed professional development. Work through each asset one at a time to create your class website, author a multi-touch book, develop a visual mission statement for your classroom or school district, use videoconferencing to bring outside experts into your class, and much more.  Work alone or with a Professional Learning Community as you take on the challenges presented throughout the course.


Creating a Culture of Innovation

Tuesday, May 21, 2013

A Villainous Plot

A Villainous Plot
Design Reversal: How to Build Adventures Using the Villain's Perspective
By Perry W Rogers
I like to run all sorts of adventures types. Linear adventures, where A leads to B, leads to C, are my least favorite of these, because they railroad player options. Mysteries are fun, because the players explore and follow clues freely, which leads to more roleplaying opportunities.
In general, I prefer to run these more organic feeling situations. By organic I mean a situation that morphs as things happen. A moment that feels alive to everyone at the table. Players love it when they feel like their actions are actually affecting what happens in the world. As GMs, we all recognize this, it is what I strive for when I design adventures.
The key to this adventure is to write it from the villain's perspective. It is his plot, and this story is all about him— like the Batman movies of the 90s.
He might not have contingency plans. He might not have an escape plan. But he does have his master plan.
The players will try to figure out what is going on, and thwart it.
As the GM, you will allow them to proceed with their investigations, attacks and other actions.
Your job is to adjudicate the reactions of the villain as the players begin to insert themselves more and more into his schemes.
Treat the villain as a living person who is in the moment, just like the players. He still believes he can succeed, and will act accordingly.

Create the Master Plan
To start, I like to create the villain, his environs and his plans. I put in a lot of energy creating those elements before I proceed to hooking the characters.
I do this because I will be doing a lot of improv GMing as the adventure develops, and more effort here pays off later on. Once I have designed all of that, I thrust the players into the middle of it to see what happens.
Here is the template I use to design this sort of adventure.

Design Template
A person, a deity or monster has set a plan in motion to accomplish some vile goal the players find out about and must foil to save....
1. Who Is The Villain?
The first step is to develop the villain. Because this adventure is completely based on his ability to plan and react, you need to know a lot about him. The more you know, the better. Consider the following:
  1. Who is he/she/it? Race, class, gender, quirks, mannerisms. Go deeper than the stat block and create a full profile.
  2. Where did he come from? His history and background including his rise to power.
  3. How does he act and react? What is his personality like?
  4. What does he desire? Power, money, revenge, world domination, lost love.
  5. How far will he go to achieve his desire?
  6. What will he not do? This can be more important that it seems at first.
  7. Where is the money coming from? What is the villain's source of resources to make this plan come together?
  8. How much local support does he have? Local villagers, monsters, mages, police, military.
  9. Who is his sidekick/familiar/pet which is at his side at all times?
  10. Who is his partner/lieutenant/right hand man? This is his most important henchmen in the field.
  11. Who are the rank and file lackeys?
  12. Where does he do most of his planning and dirty work? Where does he spend his down time? Lair, hideout, headquarters, laboratory.
Roll out your best NPC design skills on this guy. It will pay off when you see the reactions of your players as they learn about and deal with him.

2. Create The Master Plan
This is where you write out the villain's master plan from beginning to end - the whole thing.
The most basic plan will assume everything goes off without a hitch.
I prefer to write it out as a timeline.
The villain might have contingencies for things to go off the rails based on his intelligence, and anticipation of oppositional involvement.
The better the villain, the better the master plan. Keep it 'real' based on his personality, intelligence and resources.
Treat this plan like a recipe. With the villain's desire in mind, list out the steps he can take to actually achieve that desire.
Then figure out what ingredients he needs to accomplish each step.
Then go back in your plan/timeline and add actions that involve acquiring the ingredients.
Tailor the plan to the villain's personality and abilities.
For example, a villain that can fly or who has minions who can fly will plan more flying type actions. A villain who uses poison will plan more social actions. A villain who fears water will make land-based actions (or use water as his ultimate doomsday weapon).

3. Put The Plan In Motion
Most likely before anyone - including the players - are aware of what is happening, the villain will set his plot in motion.
If you want the players to unmask the plan before it can be put into motion, you will make this step very short.
What are the initial things that happen before anyone is paying attention?

4. The Situation Comes To Light
Someone has finally noticed something is going on, and is alarmed enough to act.
  • How is the situation revealed?
  • What or who involves the players?
  • What is the hook for the players?
  • Why should they care?
  • Are they being impacted by the plot in some way?

5. Escalate - Up The Ante
The PCs have now become involved. The villain probably knows it, and they may know he knows it. Now the game gets fun for you.
You can try to anticipate and pre-plan for their actions, but the players will likely choose go in a different direction.
Instead, you must begin to react as the villain would react. What counter-moves does he make? Remember the ultimate goal of his plan as you decide what he does.
At this point something needs to happen to instill a sense of urgency in the players. It could be the villain has changed the master plan in some way, sends out thugs to deal with the players, or creates a distraction hoping to lure them away. As Dashiell Hammett would say, "Kick in the door!"
The PCs' actions will result in lost minions, ingredients and resources important to the plan. Thinking as the villain, decide how you will find more, compensate or recover the most important things.
Also, the PCs might acquire allies, powerful items, knowledge and other assets that start to tip the odds in their favour. Thinking as the villain, what can you do to give yourself more power or reduce the PCs' power?

6. The Pursuit
This is the main part of the scenario. Players will make their moves to shut down the villain's plot, and he will make his counter-moves to keep the plan in motion.
This part of the action will be tough to anticipate, because it is an act-react situation.
At all times, remember what you know about the villain, his personality, his desires, his plan and his resources.
You could prepare an encounter or two for this part of the game, but keep things fluid and changeable.

7. The Last Gambit
Sooner or later, the players will have caused enough trouble for the villain that he will realize his plan is in serious danger. At this point he will try one last desperate move to bring his plan to fruition.
This action should lure the PCs to a specific location for a climactic battle.
I think this is best played as a set-piece encounter involving the villain himself in an exciting location like a grand cathedral, atop the Empire State Building, the edge of a volcano.
I like to have multiple things going on in these fights to make things as exciting as possible: minions, ticking bombs, innocent bystanders, the villain himself and his inner circle, dangerous/hindering terrain, blinding rainstorms.
I spend a lot of time designing the ending, because I like them to be memorable. I like to have all of the possible elements ready to go, but am mindful that the organic nature of this style of adventure design can force those elements to change.

8. Escape Plan
Finally, was this guy smart/humble enough to have an escape plan?
Have a logical, viable plan for him to make his getaway if that is your wish.
Do not just pull the old: "Poof! He's gone!" While it works, it's not satisfying for the players.
Also, if you have gone to the trouble of designing an escape plan, it gives the players a chance to figure it out, and foil it.
A foiled escape plan is very, very satisfying for clever players!

Over To You
If you like improv-GMing, roleplaying more than roll-playing, and more real-feeling games, this may be for you.
For years, when people asked me how I plan games, I have answered, "I design the villain, and his plan. Then I stick the players in the middle, and see how it plays out."

These tips have been just a more elaborate, codified version of that statement.

Thursday, February 28, 2013

Rant: "It Is What It Is"

You are, by now I am sure, aware of my utter frustration with the currently popular attitude of “It Is What It Is.”   I have, among other things, even called it the attitude of the willing victim. Last night while reading, stumbled upon the following George Bernard Shaw quotes: “The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man"
 "I … have had to preach, as much as anyone, the enormous power of the environment. We can change it; we must change it; there is absolutely no other sense in life than the task of changing it. What is the use of writing plays, what is the use of writing anything, if there is not a will which finally moulds chaos itself into a race of gods.” Regards

Sunday, August 12, 2012

“We cannot mistake absolutism for principle, or substitute spectacle for politics, or treat name-calling as reasoned debate.”

— Barack Obama, Second Inauguration Speech, January 2013

Friday, June 15, 2012

PIXAR's Story Telling Guidelines

#1: You admire a character for trying more than for their successes.

#2: You gotta keep in mind what's interesting to you as an audience, not what's fun to do as a writer. They can be v. different.

#3: Trying for theme is important, but you won't see what the story is actually about til you're at the end of it. Now rewrite.

#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

#5: Simplify. Focus. Combine characters. Hop over detours. You'll feel like you're losing valuable stuff but it sets you free.

#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#8: Finish your story, let go even if it's not perfect. In an ideal world you have both, but move on. Do better next time.

#9: When you're stuck, make a list of what WOULDN'T happen next. Lots of times the material to get you unstuck will show up.

#10: Pull apart the stories you like. What you like in them is a part of you; you've got to recognize it before you can use it.

#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you'll never share it with anyone.

#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it's poison to the audience.

#14: Why must you tell THIS story? What's the belief burning within you that your story feeds off of? That's the heart of it.

#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

#16: What are the stakes? Give us reason to root for the character. What happens if they don't succeed? Stack the odds against.

#17: No work is ever wasted. If it's not working, let go and move on - it'll come back around to be useful later.

#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

#20: Exercise: take the building blocks of a movie you dislike. How d'you rearrange them into what you DO like?

#21: You gotta identify with your situation/characters, can't just write ‘cool'. What would make YOU act that way?


#22: What's the essence of your story? Most economical telling of it? If you know that, you can build out from there.

Saturday, December 24, 2011

Rant: "I Want My Flying Car!"

As Avery Brooks said on a TV commercial a few years ago, “I want my flying car!”

When I was young, and the space race was still in hi-gear, we were told that in the future, which meant sometime before the year 2000, we would have flying cars, a colony on the moon, and hotels that we could visit in orbit.  So here we are 12 years after the year 2000, and we have none of it.  NONE!

At this point we can’t even get an American into orbit without paying the Russians- the Russians!- for a ride.

For a few years now, we have heard that the Chinese are working hard on getting to the moon, and now word comes that the Russians are headed to the moon.  

Now I know that we are supposed to be headed back by 2020, but that date keeps being pushed back.  Let’s suppose that we do get there by 2020.  By then it will have been 48 years since the last time we were there.  Will I ever get to see a moon base/colony in my lifetime?  Will I ever get to hear about a man on Mars?  Frankly, it’s embarrassing.

I get that there is nothing up there: no resources to exploit, nothing.  I understand the economics: it’s expensive.  I still think we should there.  

We have a small- that’s right, small- space station orbiting our planet.  There is a lot of great science happening aboard it, but where is the hotel?  I am immensely proud of it, but we should have had it in the 1980s, and have much bigger and better by now.

We were promised space, and have not gotten it.

As far as flying cars are concerned, compared to the space-race, this should be easy.  We have the beginnings of the technologies, we just need to finish the research, and get it done.  Want to clear up traffic jams?  Bring in a third dimension to the traffic patterns, and the problem will go away.


I want my flying car; and I want my weekend get away to the orbiting hotel; and I want to hear about humans landing on Mars; and I want to hear about the latest moon explorations.  Is that too much to ask?

Friday, November 4, 2011

Skill Challenges

The following is the version of skill challenges that I’m continuing to develop.  There is a lot of borrowing going on here including, but not limited to WotC’s original work, and the Obsidian system by Travis Huston Dunlap.


Types of Skill Challenges

Mental
A Mental challenge lets the players using their minds and their senses to gain clues and to find their way around the world.  DMs can use Mental Challenges to describe large scales of scenery and give players a chance to work out clues to obtain victory.

Examples: Finding your way through an old forest, determining the secret entrance to the underground city, solving the puzzle of El‐Karad, or finding the last ingredient for a ritual in an old library are examples of a Mental Challenge.

Standard skills for a mental challenge include:
Arcana (Int)
Dungeoneering (Wis)
Heal (Wis)*
History (Int)
Insight (Wis)
Nature (Wis)
Perception (Wis)
Religion (Int)
Social (cha)**
Streetwise (Cha)***
*When dealing with anatomy or medical insights.
**Social skills can be useful to gain clues when other people are near the challenge site, such as using diplomacy to acquire help from the head librarian. Generally allow this only once per challenge per person.
***For navigating urban terrain or gaining information on the street.

Failure: Failing a mental challenge often means you arrive at a different location than the one you had intended, or that you obtain a piece of information…only to later find out it is incorrect.

Partial Victory: You gain some of the information you need, but need more. You successfully navigate the terrain, but are greatly delayed and it causes problems down the road.

Victory: You gain the information you need and solve the puzzle. You navigate the terrain quickly and easily, and perhaps find a treasure along the way.


Physical
A physical challenge often is the most versatile of challenges. It can include subtle stealth or outrageous stunts. Players are encouraged to describe their actions in detail.

Examples: Scaling a great cliff, sneaking past a group of guards, and crossing a raging river are good physical challenges.

Standard skills for a Physical Challenge include:
Acrobatics (Dex)
Athletics (Str)
Endurance (Con)
Heal (Wis)
Stealth (Dex)
Thievery (Dex)
Social (cha)*
Knowledge (int or wis)**
*Social skills can sometimes be useful in physical challenges against other creatures. Using bluff to throw off a group of guards as you make your escape is a good example. Generally only allow this once per challenge per player.
**Knowledge skills can sometimes be useful in physical challenges that involve certain environments. Using nature in a chase scene that involves the jungle is one example.  Generally only allow this once per challenge per player.

Failure: Failing a physical challenge usually involves physical fatigue and possibly great peril. The party might each lose two healing surges, or every person in the party loses ¼ of their hit points, and then is forced into a combat.

Partial Victory: The party has overcome the obstacle but may have created new obstacles in the process. For example, the party has to climb a rock wall in a way that leads to other hazardous terrain. Or the party completes the task but suffers fatigue in the form of losing two healing surges each.

Victory: The party overcomes the obstacle, fresh, strong and ready for the next one.


Social
A social challenge generally involves talking and a large amount of role‐playing. Players are encouraged to use eloquent words, bold statements, and outright lies to win the day.

Example: A negotiation with the Duke, talking your way past the guards, and convincing an old hero to take up the cause once again are examples of social challenges.

Standard Skills for a social challenge include:
Bluff (cha)
Diplomacy(cha)
Insight (wis)
Intimidate (cha)
Streetwise (cha)
Knowledges * (int or wis)
*In some cases, some knowledge skills can be useful if they are particularly relevant to the challenge. Example: Using religion in a social challenge that involves a priest. Generally only allow this once per player per challenge.

Failure: The party does not get their desired help, and often the other group’s opinion of the party has dropped. If the opposing group was already hostile, it may result in combat.

Partial Victory: The party gets what they want, but the other group wants something too. Good examples are a rare treasure, some key information, or a favor. This could lead to another quest.

Victory: The party gets what they want. In many cases the other side will feel greater respect (or awe) for the party.

A skill challenge can be about almost anything including an abstraction of an epic combat.  It can take place over the course of days or weeks, or it could be more immediate like disarming a complicated lock or trap during an exciting combat.

My players have commented that they dread hearing that they are entering a skill challenge.  I think this is because Skill Challenges have been too mechanically rigid as we have interpreted them.  “You must make a number of successes before a number of failures or you do not pass the challenge” I believe the skill challenge must evolve to be less about the mechanics of successes verses failures, and more about the roleplaying.

To help remove the contrived feeling associated with skill challenges, I don’t think a GM should ever use the words “Skill Challenge” until it is over.  Until then all the players know for sure is that they are making skill rolls to guide and react to changing roleplaying situations.  The effect is purely psychological, but it takes away the perceived formality of the skill challenge environment, and encourages creative thinking and roleplaying.

Time Factor

The time factor is easy to overlook in designing a skill challenge, and that's an error that can turn a compelling challenge into a rote series of die rolls. You know you've lost your group and messed up your design when the players are doing anything but playing the game. The best insurance against this lies in spreading a challenge out over multiple scenes, each allowing a different, general approach to the problem. By varying the environment and situation, you keep things fresh even when the group uses the same skills. There's a world of difference between the Diplomacy check against a drunken guard who mistakes the party's half-orc fighter for his best friend and the same check against the nosy shopkeeper who tries to shake down the PCs for a bribe. If you back up each scene with good roleplay and descriptions, the simplest skill challenge becomes an interesting, varied experience.

Extending a skill challenge over a longer period of time has an important benefit: it lets you plausibly inflict radical changes to the challenge without straining the players' sense of belief. It's ludicrous for the party to run into a long chain of NPCs, each requiring a different skill check to handle, during a 15 minute visit to the local pub. However, if that chain comes at the PCs during an entire day of scouring a city for information, the game makes a lot more sense.

Make the Players Active!

Placing the characters into the role of the aggressor simply means pushing your NPCs into a passive role as blockers, people who stand between the PCs and success and forcing the characters to serve as the catalysts for action.

For example, the characters need to escape from a group of pursuers. It's easy to default to have the PCs making Endurance or Athletics checks to see if they can stay ahead of the chase, but that pushes them into a passive role. The guards are the active party in that arrangement: they chase the PCs, and the PCs make checks to avoid capture. Instead, set up the challenge so that the PCs are the aggressors. They should make checks to foil the pursuit, such as by throwing obstacles in the guards' way, taking a path that discourages pursuit, sparking a brawl between two gangs, or starting a fire that serves as a distraction.

In this example, you might allow PCs to make checks to simply outrun the guards, but that should be one option amongst many. Even then, it's best to flavor that option with a sense that the PCs are the ones creating obstacles that the guards can't overcome. The Athletics check doesn't represent the PC simply running really fast. Instead, it allows a character to dodge through a crowded street with ease while the guards struggle to push through.

Placing the characters in the active role dramatically affects your design, presentation, and the players' engagement in the challenge. It forces the players to step up and make plans rather than sit back and react to your NPCs. It also pushes you to create multiple paths and options. When the PCs are the passive group in a challenge, it's too easy to allow logic to dictate that one, repeated skill check is the best way to plow through.

During a combat sequence, the actions taken by each character and monster set the stage for the next person's turn. In a good fight, the situation constantly changes, and this feeds back into the idea of the skill challenge as something that reacts and changes as the PCs take actions.  The repercussions of skill checks must be more than modifiers or changes to subsequent skill DCs. They should be narrative events that change the situation and make the new conditions, options, and decisions flow into the game's story.

Going Off the Rails

Often players will come up with ideas that were completely unplanned for by the GM.  For me this is where the fun begins.  Suppose the challenge is to climb up a steep icy cliff and sneak past the guard post leading to the wizard’s tower, but when they get to that part the PCs merely walk up to the guards and hand them a sack of gold larger than they’ve ever seen.  Hmmm. . . . Sounds like this challenge may have just ended regardless of how many successes the PCs have accumulated so far, and how many are still needed.  This is the kind of quick creative thinking that needs to be rewarded.  After handing the gold to the guards, don’t tell the players “that counts as one success,” and they still need three more!  Tell them something like “the guards have just beat feet down the mountain, and didn’t even bother to take their swords with them!”

Structuring

The structure is the nuts and bolts of building the challenge. How does the challenge begin? How does it end, and what happens in between?  I like to break skill challenges into three sections, imaginatively titled the opening, the midgame, and the end. Each section requires about a third of the successes to complete the challenge to pass through it.

The opening sets up the skill challenge, makes it clear what the goal is, and lays the groundwork for the first few skills or options for the characters.  This part is all about providing good description so they get ideas about how, and how-not to proceed.

The midgame is the actual process of moving through the challenge. The skills and obstacles the PCs face are determined by the path they choose and one or more random events I roll.

The final skill check depends on the nature of their destination and how the skill challenge has progressed so far. This part can be a GM’s nightmare to prepare for, because the PCs may have taken a path that was unforeseen.

Optional Random Events

To keep some repetitive skill challenges interesting, create a short table of random events for to spice things up. I like unexpected events at the table. They keep the players on their toes, and they keep me on my toes. For me, GMing is a lot more fun when I have no idea how a session might turn out.

Limits

A skill challenge will have limits of some kind.  These could be limits to the number of checks that can be made with a particular skill, skills that are automatic failures, time limits, etc . . . . These limits should flow naturally from the idea.

Time Limit: Time-limited skill challenges are excellent opportunities for getting the whole group involved, since more people making checks means more checks get made in the limit amount of time available. Thus, when designing a time-limited skill challenge, try to throw in opportunities for a diverse set of skills.

Failure Limit (D&D recommends 3): Maybe they only have three Magic Orbs of Xinthos and each time the warlock fails an arcana check one of them shatters, or the prince will become infuriated and send them away after five failed diplomacy checks. A challenge limited by failures will probably only be attempted by the character with the best check in the relevant skills, and smart players will make judicious use of the aid another action. If you want to encourage multiple characters to contribute to the challenge, make skills limited so that they can only add one or two successes. It might also be a good idea to make the DCs a little harder and encourage PCs to use aid another if they’re not already.

Skill Check Limit: The PCs are trying to influence the ruling council, and get one skill check for each member. This approach works best for a challenge with levels of success and failure (see below). It also has many of the same features as a challenge with a limit on the number of failures, so all of that advice applies here as well.

No Limit:  This works fine only if there’s an open-ended penalty for each failure, such as being delayed a day.

The Conclusion

This is the most critical part. Decide what happens if the PCs succeed at every check, and what happens if they fail at every check. Depending on the circumstances, you might have a situation best served by a simple binary fail/succeed paradigm, in which case you’re done, or from there you might be able to branch out into degrees of success.

There must be the possibility of failure, and there must be a consequence for failure. In the most abstract terms, this means that the PCs are tangibly better off if they win than if they lost. This doesn’t necessarily mean something bad has to happen if they fail, though. For example, it might be that rather than something bad happening, something good doesn’t.

Six of one, half a dozen of the other.

Failure must be an option. Just generally good advice. If you ever find yourself planning something that the PCs simply cannot afford to fail at, then you’ve failed at planning.  If there’s no possibility of failure, there’s no reason to roll the dice. If there’s no consequence for failure, there’s no reason to have the skill challenge in the first place. If failure isn’t an option, then you’re setting yourself up for having to choose between fudging things and railroading the PCs into what you need to happen or completely ruining your game.