Hi folks, 

Vince here! Let me start by telling you a little about myself. I'm half-Italian, half-Chinese, and was born in the deserts of the United Arab Emirates — years before Dubai became the Metropolis it is today. I grew up in different countries due to my father's work, and became fascinated with stories and storytelling.

Stories captivated me because of the way they can inspire you and form friendships, regardless of who you are, or where you're from. For someone who has no place to call home, stories became everything. 

So much so that I ended up meeting my co-creator Ray in film school, and years later joined forces to create stories like Skies of Fire, and Glow. Do check Glow out! We're currently running a kickstarter for the first hardcover, and can't wait to get it into your hands :D

As storytellers, we are always striving to create worlds with living characters and real stakes. Over the years, Ray and I have spent hours talking about the nature of story and what makes a good adventure?

This is not a new question, and there are dozens of books one can read on the topic. Back in film school, hot discussions took place that splintered our class of budding creatives into different gangs like houses in Hogwarts. In this post, I'd like to share with you the things I've learned over the years of telling stories.

Treading Old Ground
But, before jumping in, I have to introduce you to Joseph Campbell's The Hero with a Thousand Faces. Campbell was one of the greatest mythologists of his day. He wrote dozens of books on mythologies from all around the world, chronicling them and giving his own insight and interpretations to their existence.

The Hero with a Thousand Faces is the culmination of his life's work, a book where he tries to define the basic building blocks of every story ever told. He called this the monomyth, or The Hero's Journey. It's a great read (albeit pretty academic in parts) and has influenced many creators and stories. George Lucas used the book to help him develop Star Wars, while Christopher Vogler wrote a memo based off the book to guide the creators in Disney's writing rooms. 

Like them, Campbell has shaped how I write stories and will be referencing him throughout the post. 

The Five Elements
Campbell was able to distill his Hero's Journey into one diagram. Vogler did it for Disney in a 7-page memo. Below, I came up with 5 elements that I think define a good adventure story. 

They are:
I. The Quest
II. An Unknown World
III. Adversity
IV. Companions
V. Items 

So without further ado, let us explore what I'm calling the Anatomy of Adventure. 

One of the oldest quests is that found in the Epic of Gilgamesh, written thousands of years ago during the times of the Sumerians. Gilgamesh, the king of Uruk, sets out on the quest to discover the secret to immortality after experiencing the death of his close friend Enkidu. 

He travels far across endless waters and hears of a plant known as "Never Grows Old." Found at the bottom of the cosmic sea, Gilgamesh dives deep to retrieve it. He successfully bring one up and takes rest to recover from the search. 

As he rests, a serpent that was attracted by the scent of the plant slithers in and eats the "Never Grows Old." From that day forth, serpents gain the ability to shed their skin and be youthful once more. When Gilgamesh wakes up and realizes he had lost his prize, he weeps, for no human being can ever stave the coming of death. 

It's one of my favorite stories as it presents a very human desire and shows that even kings cannot hope to defeat the inevitable. It's also a great example for an adventure quest. 

II. AN UNKNOWN WORLD
Another element vital to having an adventure is to go someplace the adventurer(s) have yet to experience. 

An adventure involves travel outside the regular boundaries on an individual's ordinary existence. Campbell calls this Crossing the Threshold. 
​

These "unknown" places offer up opportunities for adventurers to find hope, face fears, and learn about that which lies beyond. It's exciting and frightening at the same time, for one can only imagine the treasures and terrors that lie in wait. 

The Stargate sci-fi series is a great example of the implementation of unknown worlds. Here, an ancient machine that acts as a portal to other planets gives the show's heroes quick passage to places they can explore.

Though the portal literally means that a planet is just "a step away," the reality is that these worlds are hundreds of light-years from Earth. Being stranded off-world with a broken portal would be a serious problem. Not to mention that some portals may lead to inhospitable environments. 

This sacrifice of leaving the comforts of the known world is often rewarded by knowledge, and makes the risk of the adventure worthwhile. 

III. ADVERSITY
​There is no adventure without challenge. This is true in story as in life. Though we may not wish struggle on ourselves, it's the spice that makes life worthwhile. A story where the protagonist gets it their way every time without having to fight for it probably is not that interesting.  

Adventure is a test of one's physical and mental being. Success requires great will and perseverance. In The Hero with a Thousand Faces, this is known as The Road of Trials. 
​

Indeed, there are many ways a hero may be challenged on their journey. These adversities may be from within, from society around them, or from the environment itself. 

Doubt is a strong adversity that grows from within. It's that moment the hero is at a crossroads and is unsure which way is best, or safest. There is no immediate danger, however, the challenge could spell success, or failure down the road. 

Adversity from society can manifest in many ways. It can be the uncompromising authority figure, or an unruly mob. It can be bandits etching out a living on the road, or fellow adventurers who desire the same goals as you (but, only one may attain them). 

This societal force is a favorite in epic stories. Like the Persian Immortals who challenged the 300 Spartans at Thermopylae, the outside threat that encroaches on the peace of the known world plays double duty as the "herald" to begin the adventure. 

Environmental adversity is the third great adversity. It is nature that opposes the power of humanity. Thanks to the technological advancements in our day and age, we may forget how fragile we can be. Apocalyptic stories cut into this illusion and plays on the possibilities that may unfold in a catastrophe. 

Such adversities can manifest as an animal, or monster. Rivers, Mountains, and other natural barriers also pose dangers and restrictions to an adventure. Forests may get our heroes lost, while deserts can exhaust them to the point of defeat. Distance itself is an adversity, especially when time is of the essence. 

Like it or not, you're not on an adventure, unless adversity is at your door. 

IV. COMPANIONS
Facing such adversity in an unknown world, one cannot possibly expect a hero to survive! They'll need some help. Cue the companions, or as Campbell likes to call them - Supernatural Aids!
​

The protective figures that Campbell talks about are the Obi Wan Kenobis, Gandalfs, and Dumbledores of the world. These are wise sages who may train, provide advice, or guide the adventurer on the correct path. 

There are also the companions that join the hero based on their kinship, or chance encounter out in the unknown world. These come in all shapes and sizes, from the garish rogue Han Solo, to the smart and studious Hermione Granger. They provide specific skills that can be utilized given the right adversity. 

Companions can be a reminder of home, who following the adventurer and reminding them of what awaits them on their return, or what is at stake if they fail. They can also be doubtful about the adventure at hand, becoming an unpredictable ally like Boromir. Such characters offer a more human perspective to the arduous journey ahead. 

V. ITEMS
Last, but not least, we have items. Tools that adventurers bring to aid them where wit and physical prowess are not enough. Interestingly, Campbell doesn't highlight this in his book, only mentioning it in passing in quotes like below: 
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But, items are important to an overall adventure. Items define humanity. Unlike other creatures that evolve large claws, or quick reflexes, we are endowed with a big brain. A brain that allows us to imagine and create things that augment our abilities.

Bows, spears, swords, boats, carts. The plethora of technologies that we've created to get to where we are today is mind-boggling. And their value in overcoming the challenges of the world have been written and revered in the epic tales of old. 

We still know of many of these legendary items that empower not just humans, but gods as well. Thor's hammer, Mjolnir, and Arthur's Excalibur are two popular examples. Over time, their achievements made them symbols of status, leadership, and respect. 

I guess part of why items are so valued is that they live longer than we do. Spanning for centuries, even millennia, they exist as a reminder of what once was, holding onto the stories of adventure they once experienced. 

I hope you enjoyed this dive into the Anatomy of Adventure. Next time you're playing a game, watching a movie, or going out exploring - try to find these elements. I hope these ideas will offer a greater appreciation for stories you experience, or even help you craft stories of your own.

Until next time, godspeed on your travels.

​- Vince

Platforms present opportunities to grow consensus through means of use. An early platform holds less competition than mature ones. Identifying which platforms will emerge in the near future identifies opportunity. 

Opportunity is taken through action. Each action is risky but the odds are maximized on emerging platforms and the competition is stiffer the more mature a platform is. 


1. Identify three existing platforms. How do they grow consensus through means of use?

2. What emerging platforms do you use? 

3. What is the largest platform you participate in? 

Ahoy Mythopoeians! 

It has been a year since the plague descended. Over in the United States people are optimistic. The sun is shining. Vaccinations are rolling and the end of quarantine seems in sight. I wanted to write today's post with some lofty title - 'Lessons Learned from Quarantine' - but now in the moment it doesn't seem right. I guess more appropriate would be 'what did you think about during this crazy time and how have things changed?"

See, it's hard to quantify. Everything revolves around the Self, which is already limited in its understanding of the world - a  path down a branch of knowledge known as consciousness. I've been using dashes more recently.  Wonder why.

Are things getting better? Immediate short term problems are solvable. Long term, are we destined to fight forever? There's always an enemy. Always a rebellion. Our understanding of the world warps around conflict. It's baked into the stories we tell. Our very nature.

Violence is easy to understand. We learn about it in our legends and myths and yet do we dare wish for a world where violence is not possible, where the peace can hold just a little longer? 

We were born in the summer years, the slow afternoon of great wars and fragile peace, forged through horrors engineered by monsters.

How long does peace last? Guess we play to find out! 

Ray  

 Hey folks, 

Vince here from Mythopoeia, and boy do I have a story to tell! And yes, this one is about airships :D If you've read up on Skies of Fire, you'll know that I have a fascination (some might say obsession) with airships. 

But the way I came about writing this piece was actually through some work I've been doing for our latest campaign on kickstarter, Pro Patria Mori. It's a WW1 mini-RPG zine that puts you into the shoes of a soldier on the frontlines of the Great War. I knew I had some WW1 related items lying around the house, and was able to find the pin you can see below hidden in a Princess Mary Gift Box (check out that story here). 

Early Beginnings
The First World War was a different kind of war. One where technological advancement changed military philosophy forever. One of these technologies was the Zeppelin airship. Invented by Ferdinand von Zeppelin at the turn of the century, these behemoths of the skies were initially used for civilian transport in Germany.

With the start of the war, their value as observation platforms was quickly utilized and on January 1915, the first airship raid on British soil occurred. Citizens and politicians were horrified at this development. It was unprecedented, and there was no effective defense against such attacks. With airships, no one was safe... 

The British papers called these bombings the Blitz, doled out by the "Zeppelin Terror." And for most of 1915-1916 this was true. Time and time again, airships would come to bomb key military targets, striking fear over the city of London. Dozens of Zeppelins were built and hundreds of crew trained in the art of bombing. 

But it was not meant to last and the days of the airship as a war machine were coming to an end. 

Geoff Gonella, L33: A Night to Remember, 2016
Kenneth Poolman, Zeppelins Against London, 1961 
Arch Whitehouse, The Zeppelin Fighters, 1966

Hey Mythopoeians! 

Over the past year I've run something like 40+ sessions of RPGs in a variety of systems, from one page games like Honey Heist, GMless fare like our The Love Balloon, and slightly more traditional narrativist systems like Blades in the Dark, and of course The Wildsea. I've also had the pleasure of playing under many different GMs during the last year, picking up what I liked and maybe liked less from their respective styles.

In any case, as of February 8th, 2021, this is my procedure for running RPG one shots.

It works for me, and maybe it 'll work for you. 

Icebreakers

First, it's important to get comfortable with your table and players. When a session begins, take the first five to ten minutes or so breaking the ice by making small talk. Ask about your players' day, where they're from, the weather, games - anything really to just get them comfortable and ready to play. This is especially important in one shots where we're playing with strangers. 

The entire process of roleplaying is a social interaction between a group of people. The success of the game ultimately hinges on the participation of all parties, not just the GM. From one angle, the game is a constant feeling out process between players framed by the ritual of a game and the agreement of a set of rules to abide by. That's why home games are always better than public ones - you know your friends, and your friends know you. Nonetheless, the better chemistry you build with your players - the more comfortable they are - the more likely your game is going to be great. 

Safety Tools 

Safety Tools are important, especially when playing with strangers. When I run public games, I always make sure to go over the safety tools I'm using. My go-tos are the X Card, Lines and Veils, and Open Door Policy. I adopted these three from Glendale Story Games, stewarded by Tomer Gurantz, who has always ensured that his communities are open, welcome, and safe places to game. I recommend you use them in your games, especially when gaming with strangers. 

Read more about Safety Tools here. 

Characters & Questions

At a certain point, transition from small talk to Character Creation/Introductions. This is pretty standard - I pass spotlight to players so they can introduce their characters. The most important thing, though, is listening to what they have to say and asking questions that deepen their understanding of who the character is. 

"What is the most beautiful thing you've seen on the waves?"
"Where did you learn how to program / hack?"
"What is the closest you've ever come to death?"

This is what roleplaying is - asking questions and fostering answers from the characters. There's a sweet spot with a question that helps a player deepen their character and one that is either too specific or too broad to answer easily. This is mostly a feel and experience thing - I think of it like a degree or two away from armchair psychologist.

You want questions that helps players understand their characters better but ones that they don't have to spend more than fifteen seconds to come up with an answer. This is variable depending on the player, - some players are very comfortable with improv and coming up with things on the spot, others may be more timid.

Remember, the most important thing is to read your table and adjust accordingly.  The better you know your players, the more you can cater the experience that what they want. 


Breaks 

Don't forget to take regular breaks in your game! I like to take the first break after character introductions and typically take a break about every hour or so of gaming. I might take less breaks for a home group or if the table is particularly riveted - again, read your table and adjust accordingly. 

Breaks serve two main functions:

• They allow us to stretch, use the restroom, and take care of our bodies which have otherwise been sitting for an extended amount of time. Very important. 
• They allow you, the GM, to regroup and think about what comes next.

On the latter, often a quick pause is all you need to compose your thoughts and lead the session through to its next phase. You'd be surprised as to how much stuff you can come up with in just a couple of minutes. Calling for a break can really help unstuck you, so don't be afraid to call for a break if you're stumped! 

Beginnings

Once the first break is over, it's time to begin the game in earnest! Beginnings are very important in any type of roleplaying scenario, but especially so in one-shots. This is your opportunity as the GM to hard frame the situation, set the scene, and propel the narrative forward. 

So what makes a good beginning? I think a good intro... 

• Holds the Player's attention.
• Lets them know it's time to play.
• Engenders an immediate action or reaction. 

What you are trying to avoid is a situation that is unclear or unmotivated from the player's perspective. You don't want characters fapping about talking about the weather or watching NPCs talking to each other. You want to create a scenario that allows them to actively participate and take agency in the scene and propel the story forward. 

If you've crafted an intriguing beginning, that's often all you need to get the entire session going, especially in fiction-first systems that bake in narrative structure into the mechanics. Frame a situation, ask what the players do, and let the story unfold from there. If it doesn't seem like they're doing anything, that means you need to do something to them. This is the balancing act between GMing and 

Time Check

After the second break after about an hour+ of gaming, make sure to check in on your players and their available time remaining to play. The main purpose of this time check is so that you can begin to internally pace and drive towards a satisfying ending. Having, say, two hours left, versus one hour left, should drastically effect how you manage the session. 

Structure

A typical three hour session will typically have no more than 4-6 scenes, with a scene about every 45 minutes. Moments of intense action should be contrasted by more social or reflective, quieter scenes. Try to bounce between the two - external stake, internal stake, external stake, internal, etc. Action / Talky / Action / Talky or Up / Down / Up / Down.

However you split it, don't forget to change things up. Doing so helps ensure there's a variety of scenarios for various types of characters. 

Some systems have built in metanarrative that helps you plan out what happens. Otherwise, you may want to look into scaffolding material like the 5 Room Dungeon which is essentially a narrative structure adapted for RPGs. Again, you'll get better at this with experience, but generally speaking bounce between moments of action and moments of characterization. Too much of one thing leads to a feeling of blandness. 


Twists

One common trope that you might want to incorporate is to present a Twist about 2/3rd through the session. This can be anything from a moral quandary, villainous reveal, or maybe just a straight up escalation of events. 

Either way, the 2/3rd point of the session (keyed by time, hence the Time Check) should mark an escalation point that ramps up the stakes and intensity, driving towards the climax and ending. 

Endings

Beginnings and Endings are the most important part of a session. Beginnings hook the players and spurs good play, while Endings - more than any other aspect - determine how your players feel about a session once it's done. 

What a satisfying Ending looks like depends largely on the story that's unfolded. Your players will be signaling to you through the construction of their characters what they want to see. Your goal is to deliver on some of that right at the end of the session if possible. You don't have to deliver on all of the character's wants. Often, keying in on one or two characters and completing their loop or arc is enough. 

You should be thinking about how to end a session when you have about an hour or so left of game time and begin driving towards that ending. Push if you need to. Have something vaguely in mind, but be flexible enough to change it all the way until the last minute. 

Remember, the most important thing is to read your table and adjust accordingly.  

Try your best to deliver a good ending. Do everything in your power to do this. Nothing kills a session faster than mismanaged time and a player announcing they have to leave before you can pay it all off. Again, that's why you check on time, that's why you keep an eye on the ball, and that's why you start thinking about how to end a session well before it actually ends. 

If you have the end in mind, you can drive towards it, no problem. Don't wait until it's too late to think about it. 

Denouement 

Once you nail the ending, give the players spotlight to narrate what happens to their character. You may want to jump forward in time, but either way the most important thing is they get a sense of closure at this moment. 

Once that's done, thank everyone for playing and give yourself a pat on the back. Congratulations. You did it! You ran a kick ass one-shot! 

- Ray