I pay attention to what newbies ask in regards to running games, or what they hope to achieve. The common thread I find is about how to make or plan a more epic campaign. I always advise against making long term plans in games, because players very quickly derail things. For that reason, I always suggest learning how to improvise (a topic we’ve talked about quite a bit at High Level Games).
It’s still never the advice people want, though; they’re hell bent on planning a big elaborate campaign. In their defence, they may not have felt the crushing defeat that comes with a game falling to pieces before it gets to the good stuff you’ve planned. Or if they have, they remain optimistic about their long running campaign. (Good on you if you have that optimism.)
With that in mind, I have another unconventional piece of advice: plagiarize. I realize that’s a loaded term, and also often confused with copyright, but hear me out. When we’re in art or music class, we learn the basics before we go off developing our own style. To do that, we often copy what our teacher’s do, and what they do is copy masters who came well before them. This was even done by Hunter S. Thompson, an outstanding journalist and writer from the 1960’s and 70’s.
What I’m suggesting is this: if you’re new, borrow the plot lines from somewhere else, and adapt them to your new medium. Video games seem like a good place to start, since they’re a medium built around interactive story with challenge built into them. So with all that said, let’s look at some video game plots you can adapt into your roleplaying games!
1) Collect The Items To Defeat The Evil
As Seen In: The Legend of Zelda, Final Fantasy 1
There’s a great evil out there, and in order for the hero to defeat it, they must first collect a bunch of random items. In the original Final Fantasy, it was the four elemental crystals the Warriors of Light were looking for. Meanwhile, in Legend of Zelda, there’s usually some series of trials or items Link needs to collect before he can get the Master Sword and teach Ganon a lesson about screwing around with Hyrule.
Almost every Legend of Zelda game is just one giant series of fetch quests, yet the formula never gets old. This is because there’s always a feeling of progression as the player is exploring and completing dungeons. To replicate this same sort of feeling around a game table, be generous with the magical items if you aren’t normally. If they’re looking for elemental crystals like in Final Fantasy, go ahead and include things like a short sword +1 that’s made of never-melting ice in the dungeon with the ice elemental crystal.
2) Defeat The Minions To Reach The Evil
As Seen In: Megaman, the last world in Final Fantasy 5
Much like our first point, there’s a great evil out there, but to reach it, the players first have to defeat all of their equally evil minions first! In Megaman, this was the 8 Robot Masters you combat before tackling Dr. Wily’s Castle, or in the very end of Final Fantasy 5 when you’re wandering through the void looking for the Exdeath, you encounter all manner of other evil beings loyal to him that were hitherto unmentioned. This can be used in conjunction with the first point, as it was in Final Fantasy 5, or on it’s own like in Megaman. In either case, progression remains important.
For an interesting twist, you can make the minions optional, as a few entries in the Megaman X series have done. However, to execute this well, you mustn’t scale down the big evil, the minions should serve to prepare the heroes in some way. If you insist on taking on the final boss fair, though, you can always make a tactical retreat an option. (As Final Fantasy 5 does when the heroes enter the void; they can freely leave at any time.)
3) Chasing After The Evil To Defeat Them
As Seen In: Super Mario Brothers, the first disc of Final Fantasy 7
Evil isn’t always stationary. They’re either always on the move, like Sephiroth in the beginning of Final Fantasy 7, or they’ve got multiple fortresses throughout the land and are constantly running from one to the next when the heroes catch up, such as in many of the later Super Mario games.
This one is ideal for GMs who like to make maps and track how worlds change based on PC and NPC actions, and also provides some interesting twists! If the evil has a lot of fortresses and gained too much ground in the chase, the heroes could decide to instead draw the evil to them by razing the fortresses. Additionally, locals who were liberated by the heroes during the chase could help slow down evil should they wind up needing to backtrack during their flight.
4) Rebuilding After The Evil Has Done Their Worst
As Seen In: Dark Cloud, recurring theme in Final Fantasy 14’s Realm Reborn arc
Sometimes, evil wins and everything is destroyed, as is the case of the PS2 game Dark Cloud. The journey is all about reversing the damage as you strive to find a way to prevent another such catastrophe. In the Final Fantasy 14 Realm Reborn arc, evil was stopped, but at a great cost, and the story continues with a new generation of heroes picking up the pieces.
If a big cataclysmic battle happens, that may lead to collateral damage. If mighty spells are flung by both sides, what sort of impact would that have on the cosmology? How might it have scarred the landscape? The villages razed by an evil overlord don’t necessarily come back just because the one who razed them was defeated. If the cause of the evil is gone, there’s still the task of figuring out what damage was done, and how to fix it.
You’ve no doubt noticed a theme with all these, or at least that they’re all very similar or even overlap in some cases. That’s because there’s only so many original ideas, so much so that scholars have found how every story can be intertwined into one another, and even given this phenomenon a name: The Hero’s Journey.
Furthermore, just as every story archetype is inevitably intertwined, so is the history of video games and tabletop games; they’re both games that eventually came to be adapted as storytelling media. Players give their input, it gets parsed, the state of the game is updated, and story is progressed. The only difference is that video games use machines that can do the parsing.
However, what works for a video game, won’t necessarily work for tabletop. It’s expected that in a video game that things will be locked off; certain doors will only open if you have a key. In a tabletop game, however, expectations are different. If I have a super human strength and can smash wood and stone columns easily, why can’t I bash down a door made of similar materials?
And THAT, my fledgling GM friends, is why improvisation is also important: so you can keep your epic campaign moving along without a hitch!
Aaron der Schaedel once wrote for a now defunct website called Game Master’s Game Table, and one of his favorite articles for that site was one telling the intertwined history of video games and tabletop ones. This was his attempt at a spiritual successor to that article. Something something, absurd plug for his Twitter: @Zamubei
Picture Reference: https://na.finalfantasyxiv.com/
All blog materials created and developed by the staff here at High Level Games