Saturday, January 21, 2023

The Gamemaster's Book of Non-Player Characters (read for fun)

This is a book I spotted at Barnes and Nobles while browsing. It sounded useful, and it was a hardcover book at a decent price, so I decided to give it a shot. I have mixed feelings about it. 

First,

There are three one-shot adventures.  I can't say I'm a fan of them. All three are basically guided tours by an NPC, and not a friendly one either. All three are based on one NPC leading the characters through specific events on the way to a climax; the first two are deceivers responsible for the trouble in the adventure, and the third is not because they are a prison warden overseeing an earn-your-freedom ritual. It is totally rail-roading. The sidebars even try to pre-empt any attempt at deducing these first two NPCs are liars to keep the adventure on track. If a single high Insight check can derail the whole module, then, in my opinion, that is a shoddy module. 

I get that these are one-shots, meant to be completed within a single session, and so there is little room for deviation, but this is not a video game. This is a tabletop roleplaying game. Players have agency. If you're going to set up something like this, then you should have alternative routes or just remove the single point of failure all together. 

Now, the first adventure is a lot more vulnerable to this than the second. The second DOES acknowledge that the player party can call the NPC on their lies and accommodates this in a way that allows the adventure to continue basically as written.

Second,

The majority of the book is filled with full character pages. They are divided between location and then further by categories such as Rulers, Commoners, Lawbreakers and Criminals, and finally, Outcasts. There really are a lot of characters here, so the author is not exaggerating when they say the book contains hundreds of unique characters. However, I wouldn't say they are all "fully realized", as the back of the book claims. 

Some of them are, to be sure. A solid backstory, clear motives, interesting twist in their "secret" or "obstacle" section and further details in what they are carrying. Those are fun to read. Others are frustrating. 

You see, some of these "fully realized" characters have too much baggage to be easily used in a campaign. Their backstory might have certain requirements of the setting. Their goals might be vague; clear enough in concept but requiring building out in details to actually be used in practice. Who wants to roleplay the results of an accounting error?

Many of them leave dangling questions. This one is particularly frustrating because the author states at the start of the book that the book doesn't have "all the answers", and then provides characters that are more questions than answers.  

So, this character is pregnant with a "child of prophecy". What prophecy?

So, this character is attempting to keep a terrible creature sealed. What terrible creature?

So, this character wants to prevent their hometown from changing in some undescribed manner and decides to do that by flooding it, killing everyone and destroying the town itself. How does that accomplish anything?

Then there are characters that are written in a way that implies certain things rather than stating them. I think this is to make the character more flexible, open to interpretation, but it can also make the character less coherent overall. 

Some of these homebrew abilities are ridiculous, such as a lawful evil humanoid lion that enslaves humanoids. They can use this ability thrice per long rest, humanoids have disadvantage on the save, it lasts for 24 hours (no secondary save) and the reasoning is simple overwhelming charisma.  A DM would have to put a lot of context around such a character to make fighting this guy fun instead of frustrating. 

I also find issue with how, if family members are mentioned in the backstories, they are either dead or antagonistic. The former is too close to the trope "Stuffed Into a Fridge" for my taste, and the latter mandates using the family as villains if this NPC is used; to not use them as villains removes a significant chunk of characterization, thus making the decision pointless. 

Overall, a lot of these "fully realized" characters have to be modified, trimmed, adapted etc. to be used in a given campaign. It's not a plug-and-play thing, like I was expecting. There is a section for much simpler character outlines, more easily selected and used on the spot. I think those are meant to be selected during the session and the rest are meant for planning stages between sessions. 

Some characters have full page artwork, which is nice. It is good art. 

This is definitely a useful book for a gamemaster. The important thing is to set your expectations. This is useful for character inspiration, side quest fundamentals, campaign reference, and that is mostly it. During a session, it will, at best, slow things down. Use a generator app instead. 

Trickster Eric Novels gives "The Gamemaster's Book of Non-Player characters" a C+



Click here for my next book review: The Ring Breaker (Blog Hall of Fame author)


Click here for my previous book review
:  Valkyrie by Katie O'Hearn (read for fun)

Brian Wilkerson is an independent novelist, freelance book reviewer, and writing advice blogger. He studied at the University of Minnesota and came away with bachelor's degrees in English Literature and History (Classical Mediterranean Period concentration).

His fantasy series, Journey to Chaos, is currently available on Amazon as an ebook or paperback.

Sunday, January 15, 2023

Valkyrie by Katie O'Hearn (read for fun)

 I found this book at a book sale conducted by my local Friends of the Library group. It sounded interesting. And it is interesting, for most of the story. The author has a solid grasp on motivating emotion and develops it well. It is a pity that this doesn't carry into the final act. 

First,

This story has good emotional torque. What I mean by that is that it is very much driven by character emotion and the decisions they make based on those emotions. It is very clear that running away from home is an objectively bad idea that could lead to a lot of trouble, but it makes sense why Freya would do this, nonetheless. The loneliness she feels, the disconnection from other valkyries, and how long this has been going on (centuries), are well-established, and so the compulsion that Freya feels to leave Asgard and then stay on Midgard are understandable, even relatable. 

The author unscores this with Orus, Freya's raven advisor. He is basically a flying lampshade hanging, constantly pointing out the ill-considered nature of Freya's actions and pointing out their consequences, such as defying the Angels of Death, risking Odin's wrath, or exposing her true identity to humanity. If she sees someone in trouble, then she will help them, and if she makes a promise, then she will keep it. Other considerations are irrelevant. Orus's role makes clear the fact that Freya is not stupid, she just has an extreme case of Honor Before Reason. 

Although I do wonder how she was going to explain the whole "cut her hair short and dyed it crimson red" thing to her mother when she returned. 

Second, 

This story is like a reverse Isekai. Seriously, it is. We have a de-facto teenager who feels unhappy, out-of-place, lonely and listless in her home world. Then she runs away to a different world, (different realm) entirely. Suddenly, everything gets better for her. She makes friends. She gets to be "special", both in terms of being this beautiful, popular, transfer student with a raven "service animal", and also as a superhero. She finds fullfillment she never had before. The only box that isn't checked is a harem of love interests, but she does create this group of people who admire her platonically, because she improves their lives through confidence-building self-defense and group solidarity. 

 Seriously, the majority of the book is how much better Freya's life becomes when she leaves for another world. That is the Isekai genre in a nutshell. She just happens to be a supernatural creature entering a mundane world instead of the opposite. 

To be clear, this is NOT a mark against the story. I actually found it fun. 

Third,

The final act has a lot of trouble. Until now, everything has been guided by character motivations. It all makes sense as constructed, a natural outcome of character actions. Even Loki's seemingly contradictory actions make sense if you assume that he is doing all this For the Evulz / It Amused Me. Then we get to the final act and everything crumbles.

 I don't want to go through every little plothole, because there are too many to list. I will just say that JP transforms from a legit character to a plot device to prop up the climax that the author wanted to write. It's not even necessary for him to be in that last scene. If he were to vanish in his prior scene, or the one before that, then the story could still proceed more or les as written but with fewer plotholes. 

This problem-riddled third act is the main reason for the grade. If, at the very least, there was an explanation for Loki's actions, then I would consider a higher grade. As it is, Loki feels like JP, not a real character but a plot prop. 

The author resolves everything well enough in the falling action. It feels like the resolution is held together with duct tape, but it is sufficient. 

Trickster Eric Novels gives "Valkyrie" by Katie O'Hearn, a C+


Click here for my next book review:  The Gamemaster's Book of Non-Player characters (read for fun)

Click here for my previous book review So I'm a Spider, So What? volume 6 (read for fun)

Brian Wilkerson is an independent novelist, freelance book reviewer, and writing advice blogger. He studied at the University of Minnesota and came away with bachelor's degrees in English Literature and History (Classical Mediterranean Period concentration).

His fantasy series, Journey to Chaos, is currently available on Amazon as an ebook or paperback.