I've read some recent PP blog entries with great interest, as they (and some links) recount some of the North Texas RPG Con adventures. These, and some
other recent comments in this forum have led me to some questions about DM'ing style.
What happens when you (e.g.) put Bottle City on the second level of Castle Greyhawk? Well, you might lose some incautious low level PCs, but what else happens? First and foremost, you undo their expectations that they will exist within a bubble of appropriately-scaled encounters. This might be quite a shock and maybe you'll lose those players, but this effect seems quite worth the risk. Wouldn't this lead to a much greater feeling of accomplishment when the players actually do gain levels and navigate successful adventures? After all, if they weren't actually smart AS PLAYERS, they would have touched the bottle, or charged the hill giant or tried to steal Smaug's golden cup. This must (I think) create the perception that the entire world is not only genuinely dangerous, but more "real" in the sense that it exists and changes not according to the level of the PC but according to its own internal logic. As much as the idea of putting Bottle City on the second level kind of shocked me, I really like the kind of player experience that sort of move engenders.
However, the thing I like about it most is what I'd call the "mystery and sublimity" factor. I recall two incidents in my own DM career that maybe were a bit similar (though I had no idea at the time why I did them, to be honest). The first was when the (relatively high level) party went back in time to the sack of Gondolin. Peering out of the ruined building into which they'd just transported, they saw a group of 6 balrogs run by on some errand of destruction. Wisely, the PCs kept low: "I guess that's the wrecking crew" one muttered. If they'd engaged them in combat, the PCs would have been easily slaughtered. The other incident was when I had a group going through the upper ruins of Morgoth's old stronghold of Utumno. Moving through the maze of echoing passages and vaults, they came upon a vast pit in the midst of which was suspended an enormous, elongated diamond-shaped metal artifact. They could only see the very tip of it, itself over 100 feet high -- the rest, they guessed must extend almost 1/2 a mile into the darkness below. I still don't know what that thing was or why it was there, but I did feel at the time that I wanted to symbolize to them the utterly mysterious and alien vastness of this place, of which they'd see only the tip of the iceberg.
Although I'm over analyzing things as usual, it seems to me that one further effect of meeting a Bottle City as a first or second level character is that it gives you a foreshadowing or embodiment of the vastness and mystery (and danger) of Castle Greyhawk and the kind of Greyhawk Campaign that was being run. It reminds me of an image Tolkien used in LOTR to the same effect (at least, this is what I suggested to my students). Most folks recall the well in Moria into which Pippin throws a stone? Isn't that the perfect symbol for how Moria and Tolkien's world in general works? We enter in to it, interact with it, and then hear a mysterious and distant answer (the tapping) which just enhances the feeling of mystery. As a reader, we're given the surface text, but it's full of images of a deeper, older, more mysterious reality -- think of Gimli's song in Moria, Sam's poem about Gil Galad. These hints of an ancient, independant "reality" abound in Tolkien -- and that effect of sublimity and mystery I think is really worth invoking.
Now, all that being said, I'm curious about the extent to which people pursue a similar or different gaming philosophy and, in particular, I wonder how you all might interpret EGG's words on page 2 of the "Storerooms" section of the Castle Zagyg Upper Works. To summarize, he talks about scaling encounters for PCs entering the area who are of too low (or high) a level. Is this kind of scaling a recent thing for him? Is it different somehow from (e.g.) putting Bottle City on level 2 (which seems intentionally unscaled, to me)? Did his DM'ing philosophy shift later in his career? Of course, you keep reading and he still sounds pretty hard core (suggesting it's good to put the fear of God into the adventurers and how important the "run for your life" tactic is and always has been). Gary says "Rash play will likely result in hard lessons" -- that's good, but balancing encounters? What happened to his DMG advice of "Let the dice fall where they may"? Shouldn't you just create the encounters and make sure plenty of hints are available about relative difficulty to the players?
Just some thoughts. I'd love to hear anyone's reaction to them or any other unrelated ideas about your own DM'ing philosophy.
What happens when you (e.g.) put Bottle City on the second level of Castle Greyhawk? Well, you might lose some incautious low level PCs, but what else happens? First and foremost, you undo their expectations that they will exist within a bubble of appropriately-scaled encounters. This might be quite a shock and maybe you'll lose those players, but this effect seems quite worth the risk. Wouldn't this lead to a much greater feeling of accomplishment when the players actually do gain levels and navigate successful adventures? After all, if they weren't actually smart AS PLAYERS, they would have touched the bottle, or charged the hill giant or tried to steal Smaug's golden cup. This must (I think) create the perception that the entire world is not only genuinely dangerous, but more "real" in the sense that it exists and changes not according to the level of the PC but according to its own internal logic. As much as the idea of putting Bottle City on the second level kind of shocked me, I really like the kind of player experience that sort of move engenders.
However, the thing I like about it most is what I'd call the "mystery and sublimity" factor. I recall two incidents in my own DM career that maybe were a bit similar (though I had no idea at the time why I did them, to be honest). The first was when the (relatively high level) party went back in time to the sack of Gondolin. Peering out of the ruined building into which they'd just transported, they saw a group of 6 balrogs run by on some errand of destruction. Wisely, the PCs kept low: "I guess that's the wrecking crew" one muttered. If they'd engaged them in combat, the PCs would have been easily slaughtered. The other incident was when I had a group going through the upper ruins of Morgoth's old stronghold of Utumno. Moving through the maze of echoing passages and vaults, they came upon a vast pit in the midst of which was suspended an enormous, elongated diamond-shaped metal artifact. They could only see the very tip of it, itself over 100 feet high -- the rest, they guessed must extend almost 1/2 a mile into the darkness below. I still don't know what that thing was or why it was there, but I did feel at the time that I wanted to symbolize to them the utterly mysterious and alien vastness of this place, of which they'd see only the tip of the iceberg.
Although I'm over analyzing things as usual, it seems to me that one further effect of meeting a Bottle City as a first or second level character is that it gives you a foreshadowing or embodiment of the vastness and mystery (and danger) of Castle Greyhawk and the kind of Greyhawk Campaign that was being run. It reminds me of an image Tolkien used in LOTR to the same effect (at least, this is what I suggested to my students). Most folks recall the well in Moria into which Pippin throws a stone? Isn't that the perfect symbol for how Moria and Tolkien's world in general works? We enter in to it, interact with it, and then hear a mysterious and distant answer (the tapping) which just enhances the feeling of mystery. As a reader, we're given the surface text, but it's full of images of a deeper, older, more mysterious reality -- think of Gimli's song in Moria, Sam's poem about Gil Galad. These hints of an ancient, independant "reality" abound in Tolkien -- and that effect of sublimity and mystery I think is really worth invoking.
Now, all that being said, I'm curious about the extent to which people pursue a similar or different gaming philosophy and, in particular, I wonder how you all might interpret EGG's words on page 2 of the "Storerooms" section of the Castle Zagyg Upper Works. To summarize, he talks about scaling encounters for PCs entering the area who are of too low (or high) a level. Is this kind of scaling a recent thing for him? Is it different somehow from (e.g.) putting Bottle City on level 2 (which seems intentionally unscaled, to me)? Did his DM'ing philosophy shift later in his career? Of course, you keep reading and he still sounds pretty hard core (suggesting it's good to put the fear of God into the adventurers and how important the "run for your life" tactic is and always has been). Gary says "Rash play will likely result in hard lessons" -- that's good, but balancing encounters? What happened to his DMG advice of "Let the dice fall where they may"? Shouldn't you just create the encounters and make sure plenty of hints are available about relative difficulty to the players?
Just some thoughts. I'd love to hear anyone's reaction to them or any other unrelated ideas about your own DM'ing philosophy.
