The opportunity for training and experince provided by military service is a powerful recruitment motivator – both in the real world and in RPGs.
Many Dungeons & Dragons villains have entourages of evil humanoid followers, especially at low experience levels. That circumstance may not matter much in combat-heavy campaigns – knowing the humanoids are evil is generally considered sufficient cause to kill them and take their stuff in most hack/slash games – asking that questions that focus more on role-playing and parley before combat can take adventures in unexpected and unconventional directions.
So where do these villains get their humanoid sellswords? They do so in two ways: voluntary and involuntary.
Voluntary service can be obtained with the following arguments and / or inducements:
Patriotism. Although humanoid tribes seldom recognize themselves as nations in the modern sense, they may feel loyalty in similar fashion for fellow members of their race, outrage at heroic incursion into their lands, or even remembered outrage at being driven from more hospitable lands in the past. Defending one’s home is a powerful motivation, and if a villain can convince humanoid minions that they are doing that, morale and loyalty will be relatively high. Continue reading
Not just for the cinema: vengeance motivates RPG heroes, too. Image Copyright Paramount Pictures.
A primary goal placed before a dungeon master (DM) is finding ways to connect players emotionally to the group’s Dungeons & Dragons game; after all, while it may be exciting to defeat a statistically superior foe in combat, such an event can be made even more meaningful if the player secures an “emotional victory” at the same time.
For the purposes of this post, the best way to define “emotional victory” is through example. Years ago, this writer ran his D&D group through the classic D&D module, Night’s Dark Terror. The module led the party in an ongoing struggle against a slaving operation known as the Iron Ring, and against one of the ring’s agents in particular: the yellow-robed wizard, Golthar. While the module provided several opportunities for the party to cross swords with Golthar and his subordinates, the wizard always managed to escape as the heroes were securing victory, typically delivering an insult or two toward the party’s fighter during the escape. After letting the wizard slip through their grasp a couple of times, the players – espeically the fellow who played the fighter - became obsessed with the idea of capturing or killing him. When Golthar was slain near the end of the adventure, some of the players were eager to see what treasure or information the wizard carried. The player who ran the insulted fighter had no interest in such things; when asked why, he responded, “Who cares what he’s carrying? I just killed Golthar! I’m going to Disneyland!”
Clearly, the victory over Golthar meant more to the player than treasure and experience points. It was so memorable, in fact, that the Disneyland quote found a permanent home on our D&D Quote Sheet. Continue reading
Image used without permission from neatorama.com. See the link at the end of this post to view the source page.
The enemy of my enemy is my friend. -Arabic Proverb
The vast majority of Dungeons & Dragons adventures involve the forces of good, represented by the heroes, striking against or foiling the plans of the forces of evil, represented by the villains and monsters selected by the dungeon master (DM). It is logical to assume that this pattern is common because it helps lead to a quality game – players like to see villains get what they deserve, and love to give villains what they deserve – but like any pattern, DMs can gain as much from breaking it as they can from following it.
One way to break the pattern involves introducing a new evil into the campaign, an evil powerful enough to scare the villains the heroes have faced thus far in the campaign, and an evil so powerful that the heroes must actually join forces with their erstwhile foes if this new, great evil is to be defeated. Continue reading
As the story behind Van Dyck’s “Daedalus and Icarus” tells us, pride can be one’s undoing. And pride is only one character flaw a D&D villain can have.
The game worlds in which most Dungeons & Dragons games take place are brutal places, so it is not surprising to see that overcoming foes by force in combat is the most common way of resolving disputes for player and non-player character alike. Given D&D’s wargaming roots and the violence prevalent in fantasy books and films, it is relatively safe to say that an interest in fantasy combat is a primary reason for many D&D players to come to the table in the first place.
Players expect their characters to fight.
Of course, there’s nothing to stop a dungeon master (DM) from putting a twist on that expectation by presenting villains that, at least at first glance, are far too powerful for the heroes to defeat in combat. How can such villains be presented without overmatching the heroes? The answer lies in afflicting such villains with fatal character flaws that the heroes can discover and exploit. Continue reading
Many players won’t care how all the evil citadels, fanatical troops, fabulous libraries of forbidden lore, armories bristling with weapons and storerooms of ritual components appear in a Dungeons & Dragons campaign. Indeed, it is important to note that during 25 years of running games, I’ve never had a player ask, “who paid for all this?” while exploring a dungeon.
Of course, simply because players don’t typically ask about financial support for villains doesn’t mean that they won’t see your setting as more believable if they discover evidence of that support. And even if they don’t find that evidence, thinking about how a villain supports herself when designing an adventure can provide a dungeon master with clues to portraying her personality and structuring her organization, along with occasionally providing players with another way of blocking her plans, should they find a way to cut off her financial backing. Continue reading