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Episode 57: WorldBuilding Primer

Main Topic - Worldbuilding 101 Goals How to make sure that the campaign setting is immersive, rich, and engaging.  Creating a place where the story can happen that reflects not only the campaign theme but also the stories of the characters. The fine

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07/26/2018

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Main Topic - Worldbuilding 101 Goals How to make sure that the campaign setting is immersive, rich, and engaging.  Creating a place where the story can happen that reflects not only the campaign theme but also the stories of the characters. The fine line between sufficient detail to engage the players while leaving room for their own contributions is the greatest challenge to any worldbuilder.   Main Styles Top Down - You start from the 3000’ view and design the larger picture focusing on the overarching themes and continental level actions in a story. Pros- Overall Understanding, Big Picture Sight, Allows the most flexibility on individual game sessions. Uses a wide-angle lens on your story. Cons- Lots of time to do it. Can leave you unprepared for microlevel actions by PCs. Requires a wide-angle lens on your story. Bottom Up - You design the immediate surroundings of the Player Characters and their environs to create the most immersive and engaging starting “block” from a locality level. Pros- Make what you need or want, key it to Player Character needs specifically. Can be incredibly detailed and rich environs. Cons- The big Picture may not be visible for awhile. The bigger picture may not always make sense with what you started doing. Harder to keep together. Mix it up - Our preferred method of using both of the previous styles to create a campaign setting that includes both the overarching theme and deity level actors filtered down to the immediacy of the starting character world. Pros- You get some of the best of both. Bigger pic ideas And a bit let time spent on the whole thing at once. Cons- It can feel a bit like things are not coming together. It’s the most work for a GM between planning and keeping the improvisational parts in the air. The hardest one to balance needs of the GM and needs of the PCs as a way to move the story forward   Things to include or think about when designing the world:   Terrain - What is the physical area like? Weather - How does the weather shape the people and their attire? Population - Who, and What, Lives there? Economics - How does the population exchange goods and services? Politics - How does the population resolve collective disputes? Malleability - How firm is the push back from the world to changes?   Stat Blocks Zendead- I suck today.   Joules- The Waltzing Matilda The Royal Fortune, The Black Pearl, The Revenge, The Red Flag Fleet.  The stories and legends of these pirate ships are ubiquitous and never fail to captivate an audience.  However, no story delights and confuses an audience quite like the legend of the Waltzing Matilda.   The Waltzing Matilda is the only pirate ship that can’t (or won’t) float on water.  (kind of) She can make use of most ports and harbors normally, as long as she sticks to the shallows.  If she turns out to sea and water gets deeper, she begins to be pulled under.   However, on dry land, she is a terror.  A monster. A machine from the bowels of hell itself.  The Waltzing Matilda can levitate to about 60 to 70 feet.  (No one knows the exact height though, since she never sticks around long enough to get an accurate measurement) She can turn nearly instantaneously and broadside before her target has time to realize their predicament.  She can rise above the tree line, out of range of a town’s tower defenses, and rain chaos from above. Her silent aerial attacks always seem to nab the best booty.  Everyone is looking for thieves and marauders and invading forces to attack from the ground.  So attacking from the air catches the town with their pants metaphorically (and sometimes literally) down.  It’s an effective pillaging tactic that has a very low loss of life for both sides.   So what happened to the Waltzing Matilda to confine her to the land?  It involves her previous captain, a sea hag, insults (bo

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