Wizards of the Coast is excited to kick off the start of the D&D Encounters Elemental Evil season, which comes on the heels of the Elemental Evil Player’s Companion—a free PDF download chock full of player options, new races and spells for adventurers to get ready to unearth the deception this season.
Hello, and welcome to Part 2 of our review of the newest edition of the world’s most iconic table-top RPG, Dungeons & Dragons. This time around, we’ll be looking at yet another important area that has undergone significant change: the balance and abilities of the various player classes.
For Part 1 of our first impressions, check here.
Get out your dice and grab your character sheet, cause there’s a new version of D&D in town! As THE definitive table-top RPG, it’s always a pretty big deal when Wizards of the Coast releases a new update to Dungeons & Dragons, with adjustments to the mechanics, classes, and monsters that are poured over by players across the globe. And such a time of change is upon us once again with the release of 5th Edition. For the past few weeks, some of us at Outright Geekery have been playing through the Starter Set campaign, and are now transitioning into the full game. So now that we’ve gotten a decent sampling of the new rules, how do we feel about it? We’ll answer that with a two-part series, starting today with the changes to the gameplay. Continue reading First Impressions: Dungeons & Dragons Fifth Edition Part 1: Mechanics
NPCs are whomever we make them. The possibilities for the range of intelligence, humor, psychological issues, and so on are endless. Yet again and again we see characters that are stereotypes.
Swillbinge the Dwarf just downed his tenth tankard of ale. Five more and he’ll start to feel it, but he’ll be too busy mumbling in his heavy Scottish accent to care.
Thugg, the Half-Orc in the party, is right there with him though. Those nine mugs of ale were needed to wash down the entire turkey he just consumed (bones and all). Without the party’s help though he wouldn’t have the intelligence, or good graces, to pay his tab.
Klepto McBardy, the Halfling, is finding it all great sport. His songs and tales are filling the room with laughter…while his nimble fingers fill his pockets with “things he’s keeping safe”.
Only A’loof’n Pr’tenshus remains unamused. The Elven wizard barely glances up from her heavy tome as the party finds itself in a tavern fight with the highlord’s minions. With a reluctant sigh, she closes the volume and rolls initiative.
Even if I hadn’t identified the characters above by race, could you have guessed correctly based on their description? I bet you could. So why do these generic NPCs (or, worse, PCs) keep appearing?
We could start pointing fingers, at Tolkein and others, for making things this way. But, unless you’re playing in Middle Earth, who dictates the standard? It’s the DM’s world and it’s up to each of us to decide what works.
Try taking a step back and examining the mechanics of the race. Dwarves have darkvision so it makes sense that they evolved (or were created) in an area with no light. That fits the tradition of a race that lives in caves and mines. Such an environment also fits their stocky build; their low center of gravity helping them on shifting slopes.
But how are they making all this ale they are supposedly so fond of drinking? Not many barley fields a mile underground. And the Scottish accent? Well, there’s no “Scotland” at all but it sounds like it. While the DM might have to use an Earth accent just to keep things consistent for himself, why couldn’t the accent sound African or Spanish or pretty much anything but bad Gaelic?
Halflings? One of my worlds keeps the idea that halflings are socially clever and great with growing things. But, while some are farmers of the traditional sort, many others are farmers of a flower used to make narcotics. Using their agricultural skill, and a societal bent toward Evil for a change, the halflings rule a drug cartel that few want to cross. The halflings can be as clever with ways to deliver pain to their enemies; a swerve on the stereotypical Halfling creativity.
Of course, the whole point is to avoid stereotypes altogether. Not all Halflings should be good-natured Rogues or, for that matter, sadistic drug lords. In our own world we seek to eliminate racism and racial stereotypes. The same enlightened approach should be employed in the game world. But, just as there is a basis as to why certain characteristics are associated with humans on Earth, so too can we craft some basis for it on your game world.
The suggestion is to step back and look at the big picture of the world you want to create. Then focus in, designing your races’ nature in a way that fits that view without simply repeating the same old tropes.
You know who can often be the most helpful in this design process? Non-gamers.
Those who don’t play RPGs, and are not even lovers of fantasy movies and books, can have a very unbiased perspective on the whole thing. When you mention “elf”, they don’t think of Galadriel and Legolas. They think of Ernie, making cookies in a tree. Their thoughts, even if they don’t know how to apply them to a gaming situation, might just spark some creative ideas of your own.
Any way you go about it, you will benefit from a game world that feels a little bit fresh, even to longtime diehard gamers. It’s also a bit of a challenge for you as a DM, and that’s a good thing too. The end result is a more vibrant world that still adheres to any game mechanics you use but provides a setting your players are intrigued enough to explore.
“Who ordered the roast basilisk with honey served on a pine plank?”
(shrugs) That’s for you to decide. Maybe that’s a cultural delicacy for the humans in this town? The half-orc isn’t sure. He’s too busy calculating probabilities of success on the party’s next dungeon crawl. Orcs are renowned for their math skills, didn’t you know?
(co-written by R. Currence and Michael N., aka Navarre)
In a campaign world, the higher level a character (PC or NPCs) is, the less he or she represents the size of the population. For example, it may not be hard to find a 3rd level Fighter in the local town, but if you find a 15th level Fighter, she’s a pretty big deal.
So why is it that in most games (including my own), PC characters rise from 1st level to 20th level in usually a few months to a year of in-game time? Even if downtime is included, it is a random “Okay, you have two months of downtime. Tell me what you want to do.” Then the game picks up the next session, incorporating some things from the downtime but not having too much effect on the overall game.
The PC says he’s going to research a spell and make a few wands, maybe even build a small wizard’s tower. It happens and, other than a few incidences for flavor, everyone jumps right back to the plot, probably leaving the tower behind.
Part of the reason this happens is because, from a meta-gaming standpoint, the game is too often about the plot. The DM has worked in his secret lair for weeks or months to craft the game so, clearly, the PC is there to defeat the overlord Ensydious Tyrent, not grow petunias in his back yard and take care of his son, Little Jimmy.
Players usually follow the same mindset, which might be part of the reason most PCs have parents and siblings (albeit missing or recent converts to Tyrent’s cause) but rarely have children or even spouses. Who has time to care about a family when there’s a +5 Dancing Sword out there with your name on it?
So the campaign speeds along as PCs jump from one adventure arc to the next, with a smattering of downtime thrown in to add any semblance of realism. Soon enough, the world is saved, the PCs are 20th level, and one of the party even had a single birthday during all that time. While the PCs are probably far above the norm, how does one account for such incredible level advancement in such a short amount of time?
Let’s try a different approach, one that makes the story about the characters and not only the plot. What if the campaign takes, say, fifty years of game time? I think it makes much more sense for a 1st level character who’s 20 years old to be 70 when he finally hits 20th level, not 21 years old.
It should be noted, of course, that fifty years is a long time to a human but “last Tuesday” to an elf. So one has to consider why all elves aren’t in the upper-teen levels as compared to humans.
Maybe the answer is as simple as, while the elf can have a lot of adventures over the course of her life, it isn’t simply the actions that matter. Wisdom is a reflection on our experiences, not the experiences themselves. Elves take longer to reflect and learn from their experiences because their perspective of time is so much different than that of a human.
Over the course of the PC’s fifty years, they will have varying periods of downtime. I will also suggest up front that the term “downtime” should be renamed. The name suggests it’s the less important time used for less important things, ie “not the adventuring job”. But just because a soldier or police officer is on leave doesn’t mean what happens in his daily life isn’t just as important to the entire scope of his life. So let’s call these time periods “intervals”.
The first adventure arc might encompass, for example, levels 1-2. Then the characters might have an interval of 3-5 years where they are doing other things. Whether they are running businesses, working their 9-5, starting a family, or whatever, these things matter.
Likewise, the rest of the world is moving on as well. When the adventuring party reconvenes (for whatever plausible reason) they reencounter the bartender at that first tavern where they all met (and had a brawl because that’s what taverns are for). The barkeep, Bart Ender, having seen years ago that tavern work is dangerous, quit bar tending. Bart went to trade school and got his private security license (with a minor in business management). Five years later Bart is the owner of “Behind Bars”, a security firm that maintains safety in taverns across the region; mostly by keeping an eye on any character found sitting at the shadowed table in the corner.
Maybe a PC has met a fine woman and they now have a three year old son. But the spouse’s father recently passed away, the mother-in-law has moved in, and she is quick to argue that no self-respecting father would go hunt renegade orcs and leave their wife and child at home.
Often, in comics or movies as well as games, these sort of things aren’t included. Part of the reason is that it is, actually, a challenge for Peter Parker to justify his adventuring ways when he has a wife (or if he had a child). But that is exactly the sort of thing that Parker has always done, even where it concerned his Aunt May. And, not only did he still put on the tights, but he is a more layered and interesting character for it.
During the intervals, the DM could have a session or two to cover events and RP that occur during the interval. The PCs are likely split up during this time so it may require shorter individual sessions. But the goal of the game isn’t to get to the end as much as enjoying the entire thing from top to bottom.
Work with the player to help them develop their life; the life they would try to live if they didn’t suffer the call to action that all heroes must suffer. If the PC’s time is spent researching then give them extra ranks in that Knowledge. If they decide to help the city watch patrol for those orcs then you likely don’t want to give them levels, as that would unbalance the group, but they certainly earn ranks in Spot, Listen, and Survival.
Each PC gains some number of Skill points, distributed based on their activities. They also gain RP connections to other NPCs that might prove useful during the adventure arcs. A good DM can easily incorporate the interval activities to the adventures themselves.
Then, after a couple weeks of real time as the players and DM work on the intervals, the PCs will be able to have a more realistic feel to the passage of time when the party gathers once again as Ensydious Tyrent’s forces are spotted in the western marshes. Peace has been a pleasant reprieve for the party but destiny calls.
It should be noted that the DM might have to take a different perspective on how their campaign is organized. A game with impending doom just around the corner doesn’t leave time for many breaks from the action. But, again, I assert that doesn’t have to mean 20 levels of non-stop adventure.
For all the things Frodo Baggins did during his trip from the Shire to Mordor, the time involved still wasn’t enough to account for 20 levels of advancement. If you look at Frodo from when he started to when he reached Mt. Doom, that arc might have been only five levels or so.
So think of these arcs as mini-campaigns that, together, comprise the breadth of the PC’s life. If the focus is on the characters living in a vibrant world, they will find no end of plots (which may even ultimately all connect together).
This cycle of adventure/interval repeats over the lives of the characters. Fifteen years after that first meeting at the tavern, the party now owns their own town and land. But those fifteen years have been enough time for Bazterd Tyrent, son of Ensydious, to grow up and seek vengeance against the party for killing his father years ago.
Decades later, the party (now Lords, Arch-Mages, and all-around heroes) meets in the flying crystal castle of their Fighter’s cloud kingdom. Maybe they will enjoy stopping by the Auld Lang Syne (formerly Bart’s Tavern) for one last drink and reflection on their fifty years together.
Someday, the elves and dwarves in the party will sadly move on, after the funeral of their less-long-lived comrades, still holding much adventure and intervals to come. But that is another story.
Extra: It should be noted that the Pathfinder SRD has information on the use of downtime.
The rules seem rather too convoluted to provide the sort of story flow I am suggesting. But the concepts might be useful to a DM in handling the mechanics of events during the intervals.
(co-written by R. Currence and Michael N., aka Navarre)
We knew it was coming since 2012 when Wizards of the Coast announced a new version of the venerable RPG was in development. The folks at Wizards also said it would take about two years for the new version to be done and, guess what?, it’s been two years! We have a rundown of the products being offered as a part of this new release, and while we have almost no details on how the new rules will actually play, we have a ton of info on what you will be paying to give this new RPG a roll.
Like I said, this new version has been in dev for a couple of years, and Wizards really reached out to the fans with this one after the marketing mess that was 4th Edition. Fans were promised something new with this version, namely, a combination of the best parts of the old stuff. Now, establishing a definable set of “best parts” from a 40 year old game with at least 4 distinct versions (depending who you ask) is by no means an easy undertaking, but Wizards of the Coast, in a wonderful marketing ploy, put this standard testing in the hands of the gamers themselves. An unheard of amount of game testing went into this new version of Dungeons & Dragons, and while we have hardly any details at all on the actual mechanics of the game, we do know more than we did. What was once known as “Dungeons and Dragons: NEXT” and also as “Dungeons & Dragons: 5th Edition” will now be known simply as “Dungeons & Dragons”, but, honestly, look for gamers to refer to this as 5th Edition, 5E, and maybe even “The New One” before anything that could possibly tarnish the reputation of Gary Gygax. Wizards is being very deliberate with their releases in this version, but there’s definitely a method to their strategy, and it’s one of easing gamers, both new and old, into a new age of pen and paper role-playing games.
On July 15th, gamers will have the chance to buy the Dungeons & Dragons Starter Set: Fantasy Roleplaying Fundamentals, a slimmed down, summary version of the core rulebooks, for $19.99 retail. The set includes some rules (but not all the rules, of course), a starter adventure, 5 pre-generated characters, and a set of dice. Everything a group needs to sink their teeth into the new rules-set, without much of an investment at all. 4 or 5 buds throwing in 4 of 5 bucks a piece can get a whole group up to level 5, and that’s more than the average character level for almost every RPG I’ve ever played. This is a great way to get your feet wet, give the new version a go, and not break the bank. The bank breaking comes once you decide to buy the core rulebooks.
Wizards of the Coast isn’t changing the way they deliver this new version at all, and the traditional core rulebooks are all here. On August 19th, just in time for the grand-daddy of all gaming conventions Gencon, the new Player’s Handbook will be available. Checking in at 320 pages, the Player’s Handbook has all the rules players need for character creation, spell selection, equipment, combat, exploration, and everything else the would-be adventurer needs to save the world. But this is not a small investment. At a $49.95 retail price, Wizards is putting your money where their mouths are, and this is going to have to be one hell of a version for the old-school gamers to leave their version of choice (3.5), or for newbies to jump in.
Hoard of the Dragon Queen Adventure
Releasing on August 19th, and weighing in at 96 pages, this new version of D&D gets its first adventure module, and it’s the first of a two-parter.
Fight the War Against Draconic Oppression in this Adventure for the World’s Greatest Roleplaying Game
In an audacious bid for power the Cult of the Dragon, along with its dragon allies and the Red Wizards of Thay, seek to bring Tiamat from her prison in the Nine Hells to Faerun. To this end, they are sweeping from town to town, laying waste to all those who oppose them and gathering a hoard of riches for their dread queen. The threat of annihilation has become so dire that groups as disparate as the Harpers and Zhentarim are banding together in the fight against the cult. Never before has the need for heroes been so desperate.
Hoard of the Dragon Queen will sell for $29.95.
By far my favorite of all the core rulebooks (mostly because of so many pretty pictures), the Monster Manual is an essential resource for any Dungeon Master worth his weight in gold pieces. Mind Flayers, Beholders, Giants, Dragons, of course, and all sorts of other fiendish beasts fill the pages of this tome. Wizards promises that they have taken only the best and most vicious beasts from the storied history of this game, but I’ll bet my newest henchman’s left hand that at least a few fan-favorites will be missing from the menagerie.
What we don’t yet know is how the rules for this new format will impact these creatures gamers have grown to adore and fear. Tons of baddies to beat on is great, but not if the mechanics used to do the beating aren’t fun. Only time will tell, and the proof is in the pudding. We’ll be able to taste that pudding on September 30th, when the 320 page MonMan releases. But that taste will cost you $49.95 retail.
The Rise of Tiamat
October 21st sees the release of part two of Wizards first adventure module, The Rise of Tiamat, a 96 page module continuing the adventure of the Hoard of the Dragon Queen adventure. It checks in at $29.95 retail.
The Cult of the Dragon leads the charge in an unholy crusade to bring Tiamat back to the Realms, and the situation grows more perilous for good people with each passing moment. The battle becomes increasingly political as opportunities to gather allies and gain advantage present themselves. From Waterdeep to the Sea of Moving Ice to Thay, it is a race against Evil. Succeed or succumb to the oppression of draconic tyranny. Win or lose, things will never be the same again.
Dungeon Master’s Guide
November 19th sees the release of the 3rd core rulebook, the Dungeon Master’s Guide, and it seems Wizards is making a statement with these staggered releases. 3 months between the release of the Player’s Handbook and the DM’s Guide suggests that Wizards of the Coast is really looking to push the adventuring modules as a way for players to truly understand the mechanics of the new version of D&D, but could also mean that the publisher is worried that too much of a good thing too soon may lead to confusion and bad press in the early going of the game. Getting “hold your hand” modules out in front of the no holds barred tactics the DM’s Guide presumes, may help Wizards control the news that goes to press. In a less sinister track of thought, I’m sure Wizards simply wants a smooth transition, and holding players’ hands via modules is a great way to do that. 320 pages, and a $49.95 cover price keeps with the trend, however. Man, I hate to be a Dungeon Master on a budget come November.
And the Rest
We’ll see a DM Screen release in January 2015, as well as July release of Miniature sets and blind booster packs to coincide with the Tyranny of Dragons two-part adventure module release. So, everything you need to play this two-part module will be available for some Summer dice-chucking. No price set on the DM Screen as of right now, but starter and booster sets of minis run $19.99 retail, and individual miniatures are bound to show up on the interweb auctions soon after release.
They say you learn more from your mistakes than you do from your successes, and, if that is indeed the case, the launch of Dungeons & Dragons 4th Edition by Wizards of the Coast should have made for a great learning experience. There’s a formulaic methodology in the works with the release of this new version of the 40 year old RPG, and it’s apparent that Wizards has a plan in place with the new Dungeons & Dragons release. This stirs a lot of confidence that this new version will not suck, but marketing ploys and staggered release strategies do not automatically equate to a solid game. We’ll have to wait until July 15th and the release of the Starter Set to get a true feel of just how good or bad Dungeons & Dragons will be, but, good news, Amazon already has these sets available for pre-order at a great discount rate. Clear you schedules, gamers, call dibs on the pre-gen character of you choice, dice throwers, and get your group ready, Role-players, because D&D is back, and it’s going to be an interesting ride.
Look for a full review of the Starter Set, and all of these other products, as soon as the Outright Geekery Crew gets their grubby little hands on them.
If your D&D game is like most, your PCs are probably the heroic types. They put the rightful heir to the kingdom on the throne, save the princess, quell the hobgoblin uprising, and prevent the magical MacGuffin object from falling into the wrong hands.
Regardless of alignment, the PCs will do what they think is the “right thing”. The game is shaped around their perspectives and values.
In many games it is easy to tell the good guys from the bad guys. Unless your PCs are Evil, there is little denying they will feel compelled to go against the unsavory villains you place in front of them. Your villain is the traditional “BwuaHaha” villain who wants to conquer because he can (eg, Sauron from “Lord of the Rings”).
The advantage of such a villain is that they give the players a clearly defined goal. But the game can seem too much of a by-the-numbers adventure. It is undeniably clear that there is little to do except undertake the adventures necessary to stop the villain (eg, destroy the One Ring).
Such villains serve for only one end: They must be defeated by any means necessary to “win” the game. There’s just no reasoning with these people.
But the peril on the other end of the continuum is a villain who is too reasonable. While villains of this sort are much more layered and realistic, they are perhaps so understandable that they generate a degree of sympathy and willingness to try and work through the issue with them. The game can fall apart because sheer diplomacy and patience may turn the “big bad” adversary into an ally.
The best villains probably fall somewhere in the middle. Magneto from the X-Men series is a villain who is sympathetic in his creation but vicious in his execution. We understand why he is the way he is but we can’t condone his actions because of it.
We may not even understand the reasons behind the villain, but simply be able to assume they must be horrific. Here you get villains like The Joker.
While one would have to assume there is much that would have to happen to a child to turn him into this sort of person, we don’t know what it is. We never get to understand him save for what he presents to us in his psychotic dialog.
So we can’t fully sympathize with him or support his views. Like Magneto, we might care about whatever traumas befell him as a child, but we aren’t privy to them. But like all villains, whether it be the sympathetic Magneto or the wholly diabolical Sauron, it is clear he must be stopped.
It seems we most benefit then from a villain who is neither too one-dimensional nor too easily engaged in socially acceptable discussion. So, that being said…
What Makes a Good Villain?
1) The villain sees the world in a skewed way.
This is true of villains such as The Joker and Magneto. That their acts are villainous can’t be denied. They are probably beyond help.
But their perspective of the world is as intriguing as their actions toward it. Even if we don’t understand their foundation (eg, Joker) we are fascinated by how someone so intelligent and capable, and in many ways like us, could see the world so differently.
We said earlier that the game is shaped around the heroic PC’s perspectives and values. Well, remember that, from the villain’s perspective, they too are doing the right thing.
They may recognize that their actions are not socially/morally/ethically acceptable. But, in their mind, it is always justified.
2) The villain has the power to enact change, and is motivated to do so.
You can’t have an impotent villain. Those people are just philosophers.
The villain has to have the power to fundamentally change the world around him or her. This might be done through minions, devices, or whatever. It may not be direct. But that is power nonetheless.
Therefore, if the PCs are opposed to the antagonist (and are, by definition) then they have reason to fear. If the villain is left unchecked, undesirable things will happen.
3) The villain is often a dark reflection of the hero.
In many cases, the villain represents what the hero might be if they too had the skewed perspective listed in Item #1. This isn’t always the case, but it can make for an interesting contrast.
Harry Potter is a wizard living in the muggle world. He wants to develop his gifts in peace, living the best from both worlds. – – Voldemort was a wizard living in the muggle world. He wants to develop his gifts but sees no peace between muggles and wizards. The first must be controlled/eradicated and the latter must swear fealty to him.
Luke Skywalker is the chosen one, a Jedi destined to bring peace to the galaxy. – – Darth Vader, as Anakin Skywalker, was the chosen one. He was to bring peace to the galaxy but instead he led it into the Emperor’s rule.
Charles Xavier is one of the most powerful mutants on Earth, dedicated to helping mutants and humans to live together in equality. – – Magneto is one of the most powerful mutants on Earth, convinced equality is a pipe dream and dedicated to the institution of mutant dominance. … and, interestingly, there are many parallels between this story and that of Harry/Voldemort.
Batman is a zealot who seeks to protect Gotham City from itself. He believes he can save the society that Gotham represents. – – The Joker is a zealot who believes society is beyond hope. He would hasten Gotham City to anarchy and chaos.
These are just a few examples of the dichotomy so often seen in villains as compared to the hero.
The hero is as much defined by their foes as they are by their own values and actions. These heroes need their villains. So, in crafting a good villain NPC, try building him around the heroic PC.
4) The villain often has a distinctive physical quality
Darth Vader’s respirator makes an unmistakable and recognizable sound.
The Joker has scars that make him resemble a demented clown.
Voldemort had the visage of a snake.
Agent Smith from “The Matrix” had a unique speech pattern.
So it would seem that a really memorable villain may have such a distinctive quality. Then again, it is okay to break the stereotypes.
Maybe the villain is someone so innocuous as to be invisible until it’s too late. No one suspects Harvey, the village dung sweeper, of being the master villain. … but if that was your role in life, maybe you’d want to conquer the world too.
If you want an example of a master villain from the movies, one you never see coming, here’s the one name to remember: Keyser Soze.
5) You (the DM) has to understand your villain in and out. Your players don’t.
The only way you can present your villain as you wish, no matter how simplistic or complex he may be, is to know him.
The villain isn’t placed in the game to be defeated. When writing the plot, think of the villain as if he was the campaign’s PC and shape his actions accordingly.
From the villain’s perspective, it is the player party that needs to be defeated, and for good reason, if things are to end up as the “villain” wishes. The villain will take actions based on his perspectives and values. Likewise, he will react to the party’s actions (or those of others) on the same psychological foundation.
So the only way you can properly write those actions and reactions is to understand that foundation. The reaction of “Curses! You’re trying to stop me. I’ll kill you!” is a generic response. Your villains can do much more if you understand them.
The Joker says he’s a mad dog off his leash. No doubt. But even that mad dog has thoughts in his head.
Might the Joker (in the scenes we don’t see) be found alone, ruminating over everything? We draw our perspective of the world from our reflections of the past. I bet the Joker has a lot to think about.
“The world is a cruel and terrible place [Everything, from Joker’s perspective, confirms it]. We kid ourselves that we can be saved because beneath all those lies we call ‘society’ and ‘law’ there is just a bunch of animals waiting to tear each other apart.
But they are all so blind. They don’t see because they don’t want to see. I have to show them […because, if I can’t, I have no way to justify the kind of person I really am. I have to prove them all to be just like me.]
They look for anything to give them hope that all the truths they know are lies. Their gods. Their Batman. If I can break those false idols then they will have no choice but to admit the truth [then I won’t have to hate myself because we’re all on an equal playing field. In the end, none of this matters and I refuse to live my life being the only one who can accept it.]”
I am only guessing at what the Joker might really think. I can’t know.
The reason I can’t know is because we are following the part of Batman (our hero) when watching the movie. We don’t get to know the villain so intimately.
But Christopher Nolan has to. He has to know his antagonist from the inside out. As DM, so do you.
You don’t have to hand all that over to the players. Nolan didn’t. You only have to give them enough to motivate them to act. But, if you know your NPCs through and through, you now have the ability to give the players as much as you want to form an image of the foe they face.
6) Invite the Villain over for tea?
Some villains can be reasoned with. Some cannot. But, either way, your heroes are bound to try.
Even if the players expect, and secretly hope, to fight the villain, they will likely feel compelled to try and reason with him first. After all, everyone likes to monologue.
Even though Syndrome warned you about this in “The Incredibles”, your villain will deliver his statement of purpose to the players. The players will have their own declarations.
Unless your villain is a machine, a construct, or a zombie looking for a snack, there is usually an initial attempt to talk. It isn’t necessarily so much that the players expect to end the threat this way. It’s just usually how it goes.
What you, as DM, need to know is what happens when the players roll high on that Diplomacy skill check. Although you may not want the villain to back down, it is necessary to have the reactions be reasonable for the villain’s perspective.
Whether the villain is operating from a place of logic or emotion (probably both) they will have triggers that make things go better or worse for the party. Consider if he can be convinced, by any means, to take other action.
Magneto, despite his traumatic childhood, is actually quite a reasonable person. He even became Headmaster once of Charles Xavier’s school, carrying on the work he once decried because of his emotional connection to Charles and his hope that Xavier’s dream could be a reality, despite his doubts.
Reasoning with Sauron? Yeah, not so much.
It is all a matter of shades and degrees. Maybe you want a villain so zealous in his cause that nothing will sway him. Maybe you don’t.
But knowing where he falls on this continuum, based on different approaches by the party, is to your advantage. These are the answers you want to have ready long before your players try to mend things with a hug and a puppy.
Living in Infamy
There’s no “right” way to create your villain. From the most meat-headed ogre lord to the shrewdest mastermind, the antagonist for your players should reflect the flavor of the game you wish to build.
But hopefully this article provides a broader perspective of the possibilities for your villain. If you step back and look at the villains from books, television, or movies that stick with you there must be something to learn there.
Whether you gravitate toward Sauron, Magento, Joker, Hannibal Lecter, Voldemort, Darth Vader, or Stewie Griffin, all good villains leave an indelible mark on our memories in some way. Hopefully your D&D villain will too, being spoken of by your players many years after the last die is rolled.
(co-written by R. Currence and Michael N.)