Sept 28th, 2020
Our next installment of this four-parter is about the plot itself, kind of. Its also about the story you tell, kind of. It involves choices and destinies and everything your players can or cannot ever do.
But don't worry, its not as daunting as it sounds.
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A lot of these terms are coming straight out of your favourite video games: Linear, Non-Linear and Sandbox but they can just as easily apply to anything tabletop as well. First up, definitions. For today I will address them first in their original forms, as video game narratives.
Linear
Stories formatted this way are arranged in a straight line, hence linear. They go from point A to point B to point C along a rigid path. This leaves little room for off-the-path adventure or exploration, all the plotlines are contained in neat, easy-to-explain pieces. Linear plotlines are best used for shorter stories or for moments in larger stories when you absolutely need the plot to weave in particular ways.
Using a linear plotline with the Inside Out Method of world creation works well. (there's a link for that) You know where the party is and where they need to go and have everything in between worked out. If they stay on that path, all is well. But that's the problem with linear plotlines, players are not good at staying on the path.
Players frequently dont like being dragged along a set path but reigning them in can help keep the story more manageable for Designated Talky Humans just starting out. Try not to let them know they've been reigned in though; players really don’t like that.
When I re-read this part for the edit, I realized I spent no real time on linear storylines, and I'll be honest with you guys; I do not like them.
Sandbox
Minecraft and Skyrim, two perfect examples of sandbox video games. Just drop the player in, tell them a little of how everything works and let them go. You want a dragon shout? Well here is the first main quest, the dragon shout is at the end. You want diamond armor? Well, get mining, those gems are down there somewhere.
Its as easy as that with a sandbox style of story. In our ongoing context, this is equivalent to putting the players in a tavern to start and then waiting to see what they do. It is very freeing for the players to see their characters go anywhere or do anything, but there are some drawbacks. You can minimize these drawbacks by using the Outside in Method to create your campaign world. (hey look, another self-referential link)
The biggest drawback is you completely give up your ability to hook the layers automatically. When you forego the intro that starts with: "you all met long ago and have decided the evil duke needs to go..." For the most part that's ok though, as I mentioned above, most players dont like being dragged about by the nose.
Another major drawback is if your players go off the beaten trails you have already mapped out, you are in improv territory. Now this is not necessarily a bad thing, I have run a tremendous amount of sessions just waiting to see what the party gets up to and then reacting in fun and interesting ways. This strategy works best if you are playing in a world you created. Don't tell my players though okay?
Non-Linear
Just like with the campaign creation third part, non-linear storytelling is a mashup of the previous two types of storytelling. A little bit of "what's over that mountain" combined with "you can go anywhere but here's where the story is."
The bulk of your table-top adventures will fall into this category I would think. Even playing from a module, there is some world-building, some what-if scenarios and an over-arching plot that takes players from A to B. But the players are never constrained unless you constrain them, or they constrain themselves. I think I will make that a later article though, lots to break down in that one.
But blending the two methods is remarkably easy. Using a sandbox, Outside In sort of style with individual adventures done in linear, Inside Out sort of ways is kind of an industry standard in game modules. This allows for a world to drop the players in and once they bite the hook of an adventure, you can still have a decent idea of where the characters will be and around what time.
Believe me, it sounds a little vague but if you are a new Designated Talky Human, give it time. The old-timers are just nodding their heads as past adventures gone wrong flash before thier eyes. This also really exemplifies the reasoning behind having a few little adventures in your back pocket. Adventures you can throw in nearly anywhere.
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Before we go today let me hash out an example adventure done in each of the three ways. Not a complete adventure, just some snapshots. It will make sense I promise.
The Introduction
Linear
“The four of you, having just arrived from Keletharn, have managed to finally get the last of the sand out of your boots and have settled in for a meal at the dockside tavern, The Northern Wheel. Several waitresses are moving around serving the patrons, but one catches your eye; more accurately the oafish lout currently accosting her.”
Most heroes are not going to let that stand for longer than it takes to see if that waitress needs help. So, you can be reasonably certain your players will get involved. Obviously, this encounter would be tailored to whatever characters are being played. But hopefully they will get involved to follow the hook into the oaf’s organization or whatnot.
Sandbox
“The Morning Wind docks gently in the northern port city of Galloway, shaking slightly as the ship comes to a rest after your months of travel. The sand still in your boots is gritty and urges you towards the nearby tavern. What do you guys do?”
Hopefully, this is where your players ask what is around, then you drop a hint about the ship’s wheel hanging in front of the tavern with The Northern Wheel written on it. Then if they go inside, bam; easy-peasy. If they do not, then the bartender throws the oaf out the door as they walk past. Ultimately, they encounter the oaf somehow and in some way that initiates the antagonism.
Non-Linear
“The first mate checks your names off the passenger list as you step off the gangplank. A nod of his head recommends The Northern Wheel as a great place to rest, wash up and get a good meal. After he double checks you have all your belongings, he turns to the next passengers and runs through the same commentary. The dock is solid, and the wind is bracing, what do you all do?”
I find that the instinct of most players, with the obvious exception of any troublemakers you have in your group, will understand that this is you saying, “there’s the plotline.” It is less obtrusive than a linear plot but allows that feeling of a perfect sandbox.
The group knows about the tavern, but you do not just stick them in there. You establish in all three the colder northern climate and that the standard resident is decently peaceful and pleasant. All get across differing amounts of information, but all are great starts.
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The Midpoint
Linear
“With the guards at the mouth of the cavern taken down, the sounds of cracking whips and harsh orders being barked emanate from the depths of the cave. It is clear the pirates have taken their slaves into the old mine. The oaf from the tavern was not lying when he told you what was happening but was it arrogance or was it really an indication of just how much trouble awaits you inside? In both cases, the mayor’s daughter, Angelica, must be just ahead.”
This far along the linear story we have all the hallmarks: a damsel in distress, the interrogated bad guy and the villain’s lair. We are, of course, presuming that your players have not run off chasing the nearest shiny object. We also are presuming that the story is personal somehow to your characters, so it does not force your players to… well… play along. But this is a decent linear example if everything goes right.
Sandbox
“The bandits who attacked you are all downed now, looking like little more than rabble in all honesty. One of the bandits has a hook replacing his left hand, which is curious. The question remains whether to keep your camp here or look to see if they will be missed by any camp they may have nearby?”
This is always going to give you the vaguest of messages to pass on to your players. The hook mention is an obvious “Pirates!” to any experienced player, but its ok to be a little tropey sometimes, right? This does leave a lot of room for errors and off-track adventures if your players are too far off the mark, but again, that’s ok right?
Non-Linear
“After rifling the pockets of the bandits, you find a piece of folded paper amongst a smattering of coins, trinkets and knives. Unfolding it you see a simple message, “three more hands needed, same price, bring them to the deeps.”
The bandit who had the paper grins dumbly at you, revealing his rotten, rum-soaked teeth. “Ye’ll never find em’ ya swines.”
A second pirate pipes up, “yea, dey won’t never look in caves for piraticals like us, would they?” The gape-mouthed looks the other pirates give the second speaker tell you all you need to know about these “deeps” the note spoke of.”
Dumb pirates, another meme I know but hey its an example, take it easy. This is always a favourite way for players to receive information, its funny, its notably true and dumb pirates are just fun for everyone involved.
You do not give them all the information like at the mouth of the cave but more than they receive in the wilderness campsite example. A nice balance of both. And pirates! Next example!
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The Conclusion
Linear
“With a rattling breath, Tremont, the pirate captain, collapses to the ground. The other pirates instantly begin scattering to all points in a rush to escape your group. The prisoners cheer as they are unlocked but Angelica, the mayor’s daughter, looks concerned as she stares at Tremont’s lifeless body.
“He said he was working for someone. And I was to be a gift for this person. It’s not actually over is it?” Angelica’s pleading eyes are wide as one of you lifts the black-mailed gauntlet from the captain’s desk nearby. Her hands go to her mouth. “IT’s the Drenin isn’t it?”
Bad guy down, not the main villain after all! Again, a little tropey but you can always make this work. The benefits to linear tales are much more detail in the npcs and an easier time giving compelling reasons for the group to continue along the storyline.
Sandbox
“The old ship beneath the mountain creaks as the captain’s body hits the floor. Out of his pouch rolls a thin marble circle, like a bracelet. It trundles along the floor for a bit then falls flat on its side. A small flash gives away its magical nature but what comes next is still shocking. A deep voice rolls out of the marble trinket.
“Tremont why are you bothering me, we have many preparations before we make landfall… Tremont… this better not be a problem, you have five days until we arrive. Make sure the mine is complete or you will be the first we throw in.” Angelica, the mayor’s daughter, shudders and speaks.
“It’s the Drenin, they are coming.”
Much more exposition in this example and a situation where at least one of my players would grab that thing and sass the voice as hard as they could. Would literally bet money on it. But a good example of getting the point across but not forcing any sort of interaction with these “Drenin” people. Angelica is less defined in this example as the group may have only just met here in this scene.
One unfortunate issue with sandbox style games is that there is no definite way to ensure the players are ever anywhere. And even with a well-crafted story there is the possibility that your group hears this and throws their collective hands up and just walks into the sunset. To keep the group invested, you really do need at least a little hook to grab them by. Let them stew at leaving the poor townsfolk to fend for themselves, a little tug on the heartstrings works wonders.
Non-Linear
“Whoever you are *cough* you will not survive when my employers arrive.” *obligatory villain death cough hack* The captain’s words fall as bluntly as his cutlass on the wooden planks. Nearby, the mayor’s daughter, Angelica, is struggling to loosen her bonds.
“He has a device in his pocket he talks to them with. They said they are landing in five days; we need to warn my father.” The ropes fall free, she seems capable of having done that at any time. She lifts the cutlass and looks at you all. “Let’s get the others and go home, you all deserve reward and rest.”
This is the one I would go with and depending on the group I have I would take it a couple different ways. Maybe they need to ride hard to the city nearby to warn the Duke, a messenger episode. Maybe they need to plan and build defenses in Galloway, like a siege episode. Maybe they take a boat and scout out the forces or scour the mine/cavern/buried boat for clues that reveal a sinister otherworldly plot. Could be anything.
Now my bias obviously showed through my examples, I really do like Non-Linear style the best. Take what you can from the examples and make something fun! That’s the real goal.
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It is a relatively easy concept: how much freedom do your players really have? It is an important thing to think on when creating your campaigns and your world, so make sure to spend a little time and really figure your plan out.
Eric
Today I googled "Linear, Nonlinear, or Sandbox" and there were a lot of links. Most of what's up there is off the top of my head today, so I didn't really use the links but go ahead, google it, and see what you find.
Here's a couple of the ones I read after the fact that I thought were good.