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GameMastery Guide / Nonplayer Characters

Villains

Source GameMastery Guide pg. 90
A good villain has to be more than just an evil, high-level NPC or monster at the end of a dungeon bash. While the basics of NPC creation covered earlier in this chapter offer advice in developing NPC personalities, no NPC deserves more careful and detailed development than a major villain. To be memorable, a villain has to have a personality, a powerful and believable hold over her minions, and an evil plan that threatens an area significant to the PCs—a settlement, country, continent, or even the world. Villains are arguably the most important type of NPCs— as, after the PCs, they likely receive the most time “on screen”—and the GM should detail them as thoroughly as possible, with complete statistics and full descriptions and understanding of their appearances, personalities, motivations, and every other feature that makes them unique, as all of these elements will likely come up in one way or another as a plot unfolds.

Not every local thug or monster chieftain needs to be a fully realized villain, though. While the PCs will likely face and defeat numerous opponents over the course of a campaign, only the most significant ones or those the GM plans to return to time and time again need to be fleshed out into extensively detailed characters. A villain’s character often proves important to the type of campaign being run and the threats therein—brutal villains typically have brutal means, while more cunning opponents tend toward more subtle plots. In many ways, an adventure is embodied by its main villain or villains, and GMs should take the time to prepare accordingly. GMs hoping to run effective and memorable villains in their campaigns should consider some of the following advice.

Villainous Archetypes

Source GameMastery Guide pg. 90
A strong concept is the first step in designing a memorable villain. Several of the most basic villainous archetypes are presented here, and with a bit of imagination a GM might create countless permutations of such characters.

Crime Lore

Source GameMastery Guide pg. 90
Crime lords are usually rogues or multiclassed characters with their highest level in the rogue class. A crime lord sits at the heart of a shadowy web, taking a cut from all illegal activity within his domain and dispensing rough justice to those who transgress whatever rules she imposes. They usually operate in cities. Crime lords are typically lawful evil or neutral evil, and can be of any race.

Personality: Most crime lords see themselves as entrepreneurs whose business does not happen to be legal. They are pragmatic and ruthless, but not necessarily evil or unreasonable.

Followers: Crime lords rule mainly over rogues, and may affect a title like “Master of the Guild” or “King of Thieves.” Their inner circles almost always include a few warrior types as muscle and at least one assassin. They usually rule their followers by fear, making grisly examples of anyone who crosses them.

Plans: Most crime lords do not have grand plans beyond holding and expanding their turf and maintaining a decadent lifestyle. Occasionally, a crime lord might attack the local authorities—often in response to an official crackdown on the bribery and corruption that keeps eyes looking the other way. A successful crime lord may eventually take on the role of an evil overlord or create an anarchic “city of thieves” where almost anything goes.

Evil Overlord

Source GameMastery Guide pg. 90
The evil overlord is a powerful ruler, often of a martial class, who has established control over an area in the campaign world. She rules with an iron fist, taxing the locals to death and exacting harsh penalties for the most trivial of crimes. Evil overlords can be of almost any race, and tend toward lawful evil alignment.

Personality: “Might makes right” is the evil overlord’s motto. The peasants suffer because they are weak, and the overlord’s minions live well because they are strong enough to take from the weak. The evil overlord is the strongest of all, and rules by right of that strength.

Followers: The evil overlord’s followers are ruled by strength or fear. Those who rebel or fail are made into gruesome examples. Higher-level followers are kept suspicious and resentful of each other so they do not think of joining forces against their mistress. Instead, each one vies for favor while scheming to bring down the others. Most of an evil overlord’s followers are fighters or warriors. She probably also has one or two special retainers: a torturer or executioner who carries out the overlord’s brutal justice, a wizard or cleric who uses magic and spies to ensure the rank and file are kept obedient, a pet monster, or perhaps a champion— strong but very loyal (and perhaps also very stupid). High-level fighters make good champions, but so do combat-oriented monstrous races like ogres and trolls. Plans: A typical evil overlord values wealth and power more than anything else, and most of her plans revolve around trying to acquire more of both. Short-term objectives might include finding or taking powerful magical weapons and other items, killing neighboring rulers and taking their lands, robbing temples and other sources of wealth, and executing anyone who objects. Longer-term objectives typically involve conquest: from the local area to the entire world. Any ruler or other character who is more powerful than the overlord is seen as a threat and must be killed or brought under control until he can be dealt with once and for all.

Evil Priest

Source GameMastery Guide pg. 91
An evil priest is typically a cleric or adept, although he may have some levels in other classes in keeping with the interests of his patron deity. Evil priests can be of any race or evil alignment. They can operate in one of three basic ways, according to their personality and the status of their religion: a tyrant who rules an area and burns anyone who objects as a heretic, a vizier who manipulates political power and acts as the power behind the throne, or a cultist who commands a subversive congregation from the shadows.

Personality: Not all evil priests are religious fanatics. Some are simply ambitious and unscrupulous. Others may be sadists, megalomaniacs, or psychotics. Just as evil overlords justify their actions by strength, evil priests always have some religious rationale, which might make sense only to them.

Followers: The followers of an evil priest include lower-level clerics, guards, and others of all classes who might be fanatically devoted or simply frightened into obedience. New followers are often recruited with promises of power, wealth, or pleasure, according to the nature of the priest’s deity. Special followers might include an inner circle of acolytes, creatures from other planes, and undead. If the priest is the power behind a throne, he might also have a network of spies, assassins, even an army at his command.

Plans: A tyrant might plan to spread the faith by conquest, with increased wealth and power as pleasant side effects. A vizier could scheme to gain and keep political power, and then set the country on the path to war and the conquest of infidel lands. A cultist might want to destroy all of a region’s forms of authority so his cult can take power or—especially in the case of chaotic cults—summon their patron to wreak havoc and destruction.

Mad Wizard

Source GameMastery Guide pg. 91
The mad wizard (or any other magic user) offers a useful villain archetype for dungeon adventures, as few question that insane geniuses build elaborate underground lairs stocked with monsters and traps. Some powerful wizards use their magic overtly, setting themselves up as petty rulers, while others work more subtly, lurking in the shadows as advisors to powerful individuals. Mad wizards might be of any race or alignment, but are seldom good.

Personality: A mad wizard’s insanity or obsession has a significant role in determining his plots. Megalomaniacs want power (all the way up to divine power), paranoids want to eliminate everything they see as a threat, whereas the slighted want revenge for some real or imagined injury. A host of phobias and obsessions can also add color or themes to the means by which they pursue their objectives.

Followers: Those who follow mad wizards either share the wizard’s obsession or are terrified of what might happen to them if they do not obey. In addition to lesser spellcasters, mad wizards may employ warrior types as guards and commoner types as servants. Perhaps more than any other kind of villain, mad wizards are prone to collecting monsters, often trusting them more than their humanoid minions.

Plans: A mad wizard’s plans are often grandiose. Taking over a kingdom is just the first step in taking over the world, and then the universe. Dealing with demons might be part of a larger scheme to bring down a demon lord and establish the wizard as overlord of an infernal realm. Mad wizards dream big, and dismiss accusations—and even undeniable proof—of their twisted minds.

Scheming Noble

Source GameMastery Guide pg. 92
A scheming noble is an ideal villain for a campaign highlighting political action. This type of villain is normally an aristocrat, though typically multiclassed to provide a greater challenge. Scheming nobles are usually lawful and of the same race as the regional sovereign and other nobility.

Personality: Nobles are raised on intrigue, decadence, and manipulation. Outwardly, they might affect the personality of a loyal retainer or of boon companions who have a ruler’s ear. Beneath the facade, they scheme for ways to advance themselves and eliminate rivals.

Followers: Scheming nobles are often attended by a number of paid servants, guards, even assassins. Ultimately, if someone sells a service, they might be on the noble’s payroll. Some followers might be motivated by actual loyalty or personal ambitions, but most are well compensated both for their service and for their silence.

Plans: These villains envy what others possess. Less ambitious schemes might include engineering scandals and planting evidence to bring down rivals, while grander plans might include ruling the kingdom, either by stealing the throne or by turning the sovereign into a puppet.

Advanced Villainy

Source GameMastery Guide pg. 92
Some GMs might seek challenges and variety beyond what mere archetypes can offer. While sometimes this merely means using villains in different ways, it could also mean drawing upon the hundreds of different races and rules elements that the Pathfinder Roleplaying Game affords creative GMs. Noted here are a few suggestions to keep a campaign’s villains both despicable and unpredictable.

Recurring Villains: Only the very greatest villains should be able to come back from defeat, and this should happen very rarely. Otherwise the players might develop a feeling of futility, along with suspicions about the GM’s impartiality—which can severely disrupt a campaign. The notes on the “pet NPC” from earlier in this chapter apply with particular force to major villains.

In order for a comeback to be possible, the villain must have escaped in such a way that the players do not feel cheated. There are some exceptions to this, but they are few: the villain might come back in undead form, for example, or in a resurrected but still somehow damaged body. In most cases, however, if the PCs killed the villain fair and square, she should remain dead—end of story.

A villain should never come back from death more than once. If the players start to feel that nothing their characters do can put an end to the villain, frustration and suspicions of cheating grow. The reappearance of a defeated challenge should be greeted with shock and surprise, not with knowing groans.

Stacking Villains: An alternative to villains coming back to life is to stack them, one behind the other. For example, a psychotic killer might be a religious fanatic under the partial influence of an anti-paladin, who in turn is the protégé of an evil priest intent on starting a holy war. The killer is removing members of a noble house to bring it down and create a power vacuum that could lead to civil war. The anti-paladin plans to take advantage of the chaos to attack one barony after another rather than facing a united realm. This is a limited example, but enough to demonstrate the principle that defeating one evil only sets the PCs on the path of a greater threat. This is much more intriguing to most players than a villain who is resurrected again and again.

Monstrous Villains: Villains are not necessarily humanoid, and everything in this chapter applies equally to villains of all races and species. Some races lend themselves better to providing particular types of villains—an orc makes a good evil overlord, for example, although some imagination is needed to make such a creature into a scheming noble—but playing against type can be very rewarding. The main thing to keep in mind is intelligence. A villain, almost by definition, is an evil creature with a plan, and if a creature does not have the intelligence to formulate an evil plan, it cannot be a convincing villain.

Nonliving Villains: What if an intelligent sword dominated a dim (but very strong) owner and became the brains of the operation? What if a cursed helm or some other item changed a character’s alignment and turned him into a villain? A villain that is not a living creature can provide some surprises and plot twists that will keep the PCs very busy—especially if one of them slays the supposed villain, loots the intelligent sword, and instantly falls under the weapon’s thrall.

The Villain's Escape Kit

Source GameMastery Guide pg. 93
The time and effort that goes into the creation of a major villain is wasted if the villain does not get enough time with the player characters. Every GM knows the frustration of spending hours crafting a great villain, only to have him cut down in a few rounds with scarcely a word exchanged. Every villain deserves a moment to defy or mock the PC, and there are a number of ways to arrange this without fudging dice rolls or railroading the players.

Designing NPCs

Source GameMastery Guide pg. 80
NPCs are a pivotal element in many Pathfinder adventures, especially those in which the PCs must deal with crucial non-combat situations or act in a civilized area. Like the supporting cast in a movie, NPCs cover a variety of roles with different degrees of importance, from second leads to extras, and the way the GM designs them is open to a wide range of possibilities. Besides being potential opponents, NPCs can be an exciting source of support, information, and intrigue during an adventure. As dramatis personae in their own rights, important NPCs become the mouth and hands of the GM in the game world, allowing him to break from descriptive and rules-based talk in order to speak and act in first person. When acting out NPCs, the GM can roleplay fantasy characters as players do, sometimes putting on dozens of different personas in a single game session. Designing NPCs outside of gaming sessions is a task the GM should dedicate some time to as he creates his stories, although improvisation can be the source of unexpected and excellent ideas. In addition to time and imagination, the creation of NPCs requires good judgment, accuracy, and economy in generating a balanced set of abilities, writing a correct stat block, and giving the right amount of detail. Designing NPCs thus becomes an exercise of creativity, which the GM can cultivate by reading fantasy literature or watching fantasy on the screen.

While there is no right or wrong process for designing NPCs, creating interesting, useful, and memorable characters can be a daunting task. Chapter 14 of the Pathfinder Roleplaying Game Core Rulebookaddresses the creation of NPCs from a rules standpoint—what one might consider the “science” of NPC creation. As this chapter delves into the “art” of creating NPCs, it’s up to the GM to decide for himself—often on a case-by-case basis—the best methods for designing new characters. For villains and other major characters, this often means coming up with a concept and then devising unique statistics to support it. When building more mundane characters, utility and ease of use often take priority, with the GM adding personality to preexisting stats. In either case, the path to creating a valuable NPC begins with determining the character’s role in a game.

NPC Roles

Source GameMastery Guide pg. 80
The functions performed by a character in a story are a way to define her role, as linear or complex as it may be. A character might constantly perform a single function, which makes for a linear role (like the cruel and unforgiving tyrant who does nothing but harass the heroes), or multiple functions, which makes for a complex role (the official that initially helps the heroes, but at some point turns against them after being bribed). These functions easily apply to prominent NPCs in Pathfinder adventures, and translate into the game as follows.

The Villain: Almost on a par with the hero, the villain is a necessary figure in a story-oriented Pathfinder adventure. More than any other NPC, the villain gives the GM the opportunity to exercise his creativity, thespianism, and deviousness.

In most campaigns, villains are predominantly characters with evil alignments. Since alignment is a required element in the game profile of an NPC, it can be a focus in the creation of the villain herself. Choosing one of the three tones of evil (chaotic, lawful, or neutral) and making a villain distinctive by adhering to that tone instead of just assigning her a generic “bad person” label can be a challenge for the GMs. For a storyteller who values the interpretative and narrative elements of the game, maintaining this ethical aspect can be as important and tricky as consistently keeping up an NPC’s accent or mimicking one’s low intelligence in strategic situations. Villains need not be merely characters with evil alignments, though. Modern fantasy literature, while deeply influenced by ancient myth, tends to characterize evil in subtler ways. Often bad guys are not ultimately corrupt, destructive, and terrifying evil beings. Eschewing the traditional concept of “pure evil,” modern villains often find themselves toned in different shades of gray rather than being a solid black in their nefariousness. A wizard who resorts to forbidden magic to restore a lost loved one, a leader who warmongers in the hopes of reclaiming his people’s ancient empire, or a cleric who hunts down non-believers in the name of righteousness— all of these offer basic examples of good ideals turned to evil ends. Of course, the nuances of a villain’s character and goals might ultimately prove as varied and rich as those of any PC, giving the GM limitless opportunities to exercise his imagination and deviousness in the crafting of all manner of exciting schemes.

In folktales, the villain is the source of woe in all its forms, and the Old English substantive for “evil” (yfel) was used by the Anglo-Saxons to mean “harm,” “crime,” “misfortune,” or “disease.” In keeping with these definitions, a villain’s possible functions might vary widely, her modus operandi defining her as much as her personality or goals. In crafting a villainous NPC, the GM might consider what type of game he wants to run and what abilities he needs his villain to possess, considering these variables to shape the antagonist’s aspect and attributes. If a villain needs to spy upon the heroes, she probably needs scrying magic, stealth, or a scouting minion; if she needs to impersonate a PC or NPC ally, she probably needs to be a transmuter, a shapeshifter, or the employer of a doppelganger; if she needs to provoke an accident, she must be able to curse the PCs, poison their food, bribe their associates, or the like. Behind the entire sequence can lurk a powerful, masterminding villain (often a devil, dragon, or magic-user in folktales), while different functions are assigned to different minions (the sneaky one who spies, the strong one who charges, the cunning one who deceives, and so on). Such elements need not be set in stone at a villain’s creation, and might be altered during the course of a campaign, but should help frame a GM’s thoughts when deciding what villains he needs for his game.

The Donor: A typical character in folktales, often appearing as a wise and subtly powerful figure, the donor is usually limited in her actions, either because she is old or because she is a mystical or pacifist creature detached from mundane conflicts. Sometimes the heroes encounter the donor by chance, and sometimes the search for a donor is an intentional step in their quest. The donor is called such because she provides the heroes with something of value: special training (a fighting technique, a magic song), information (a hint to a riddle, a secret about a PC’s ancestry), or a talisman (a magic item, a helpful creature). The donor is usually good and benevolent, but might exact a high price for her help or put the heroes through a trial to test their mettle. In any case, donors usually keep their distance from the PCs, and the players seldom, if ever, get to know everything about them. A donor is the kind of ally that helps with information, shelter, and equipment, not one that accompanies the PCs on their adventures. Used with moderation and cleverness, the donor is the most likely figure to appear when the heroes need to be rescued. In this case, the intervention of the well-known but unpredictable donor (especially if the heroes have some way to summon her help) works much better than an awkward deus ex machina. Powerful, good, and wise monsters—such as gold dragons, angels, or lammasu— are ideal donors, as well as any high-level NPC of a magicusing or knowledgeable class.

The Helper: Helpful and supportive, as the name implies, the helper tags along with the PCs on an adventure, or frequently encounters them during it. Once met, the helper remains a constant presence in the story (as opposed to the donor who is met only rarely or once). The helper can be a magical creature or expert companion that allows the heroes to face a particularly difficult situation or an “NPC object,” like a sentient weapon or a genie-summoning device. The helper is usually good, although mercenary helpers or intelligent magic items with annoying twists are common in fantasy stories. A compelled helper is entirely possible (such as the tenant of an efreeti bottle), with no limit to alignment whatsoever. Due to her constant presence at a PC’s side, the helper probably needs a more detailed development by the GM than any other allied NPC, especially when she does not belong to the category of “bound creatures,” like familiars, animal companions, and special mounts. When the GM introduces a helper, especially one with a rich background and a detailed personality, she is likely to give lots of information about herself to the players, perhaps even her stat block for use in a battle. Whereas the donor remains mostly a mystery, the helper is much like a fellow PC in terms of amount of knowledge gained about her. Helpful, skilled, or magical monsters—usually less powerful than donor-like ones— can be excellent helpers, fey creatures, fragile outsiders, and magical beasts being the some of the more suitable types. Even a weak NPC-class character who possesses a key ability or magic item might be an excellent helper.

The Patron: This NPC directly sends the heroes on their quest or sponsors them somehow. Above all, the patron is interested in his goal and wants to achieve it via the PCs. The patron is usually a notable exponent of some established rule (the archetypical patron in folktales being the king of the land), and an important element of his function is maintaining an honorable deal with the PCs. Patrons usually have goals aimed at improving their own or their community’s fortunes and are often generous in their deals with the PCs. When the patron is good, his role can merge with the donor, as he provides something useful for the heroes and supports them with his resources. The patron can also be evil, though, and his role can merge with that of the villain, as he deceives the PCs about his purpose, sends them on a suicide mission, or uses them as scapegoats or agents provocateur against their will. A patron does not need particular skills or magic powers, as his power and potential to reward are what really matter. For this reason, the patron function can easily be performed by non-spellcasters and NPCclass types, the aristocrat being the most iconic.

The Victim: This NPC is the direct target of the villain’s woe. His role can merge with the helper if he lends a hand to the heroes during the adventure, or with the patron should he possess the ends but not the means to aid himself. Most probably, the victim is good and evokes sympathy from the PCs. Without the need of a donor’s wisdom, a helper’s skill, or a patron’s wealth, the victim can simply be an embodiment of weakness and vulnerability, but he can also share the characteristics of one or more of the aforementioned roles. It is also possible to conceive of a victim as an evil being. For example, an evil witch might be exposed to the threats of a dragon neighbor (a thing that makes her a genuine victim), and put on the traditional disguise of the good old woman to coax the heroes into helping her. In some situations, the NPCs can become victims of the PCs, the most classic case being the prisoner dilemma, where the heroes must decide what to do with captured foes.

Good to Read, Good to Play

Source GameMastery Guide pg. 81
A good RPG session plays like a piece of good fiction reads. Although it may sound a little philosophical, this adage is reasonably accurate. The similitude between gaming and reading is subtle and hints at the importance of a story within the game. While the act of roleplaying might be compared to impromptu theater (in at least the time actively spent playing at the table), the reference to reading recalls the preparation work that precedes it. More than actual play itself, it is the backstage of the game that benefits from the GM being well read and imaginative, since knowing or researching a wide range means being able to summon additional details at the gaming table. Among the things found in books, of course, are interesting models for NPCs. In fantasy, these models come in literally thousands of shapes and sizes, but this variety proves much less substantial than it might look on the surface as most fantasy characters fall within the range of a relatively small number of archetypes. Yet for all the basic similarities of such characters, be they PCs or NPCs, it’s the nuances that set them apart. While King Conan and King Arthur occupy much the same role in their respective story cycles, their specifics distinguish them, creating distinct and memorable heroes despite any similarities. GMs become better storytellers by exposing themselves to such characters, whether in fiction, film, history, or any number of other pastimes. Taking inspiration from the works of other storytellers thus proves one of the surest ways a GM might add depth to his own characters and ultimately improve his game.

NPC Basics

Source GameMastery Guide pg. 82
Once a GM knows what role his NPC needs to fulfill, the character’s details can begin taking shape. While not every NPC needs to be a unique masterpiece of imagination, every character the PCs interact with—those important enough to have a speaking role—should have at least three core elements: appearance, motivation, and personality. These aspects answer three questions fundamental to every NPC, from shopkeeps to kings: how do they look, what do they do, and how do they do it? How much effort the GM puts into detailing and refining the answers to these questions relates proportionately to the NPC’s importance to a story and his time spent interacting with the PCs. As such, an NPC who appears but once probably only deserves a few notes or a moment’s improvisation to convey the most basic traits, while a major character benefits from greater details, which might be revealed or evolve as the PCs interact with him. Thus, GM should consider the following character aspects as they design their NPCs.

Appearance: Every NPC worth describing has an appearance, something that sets the character apart and distinguishes her from the faceless masses as a unique individual. This might be nothing more than reference to the color of an NPC’s hair and noting her age, or it might be a detailed account of her beauty or ugliness. A detailed description can do much to determine whether an NPC is memorable but might also suggest deeper elements. Some of an NPC’s physical traits dictate rules aspects (race, blindness, a limp, and so on), others can be merely cosmetic, and still others might reveal clues in a well-planned plot. For GMs wishing to delve past the superficial, some traits might even prove portentous. In folktales and myths, a typical example is the “mark of the hero,” which allows others to know her true identity. Such traits can lead to identification (like Odysseus’s leg scar) or provoke some kind of reaction in a monster. In the past, it was a common belief in some cultures that evil people are somehow marked, but also that a hero is born with a distinctive sign on the body or receives it during her initiation or adventures. Fantasy literature features innumerable examples of such traits used as plot devices, and whether meaningful or random, a unique description of an NPC is among the primary elements that help a character standout in the players’ minds.

Motivation: With any character, regardless of the storytelling medium, it’s vital to know what is at stake for that individual. Knowing an NPC’s motivation is the best way to have her behave in a logical and coherent manner in the game. An NPC who is out to avenge her murdered family members will be more motivated—and therefore braver— in situations where that goal is at stake. A normally timid scholar might take greater risks to recover a rare tome than to rescue a princess. Motivations need not be elaborately detailed for most characters; one line such as “family murdered by orcs” or “obsessed with gaining knowledge” is often sufficient. By the same note, not every motivation needs to be dramatic either. The vast majority of NPCs met in a campaign likely have quite mundane goals, such as “move to a new town,” “romance the local starlet,” or “work for weekly pay.” While many such goals frequently prove beneath a party’s notice, the more interesting and unusual objectives typically come to light along with the extraordinary character who possesses them.

Personality: This element describes an NPC’s basic outlook on life, and typically one or two descriptive notes to this purpose are all that are needed. Is the NPC friendly and helpful? Or is he gullible, cynical, pessimistic, sarcastic, lazy, or hot-tempered? Such personality traits govern how the NPC reacts to most situations, commands, or requests. Giving an NPC an interesting and dynamic personality means making the interaction with him more enjoyable, both for the GM, who must impersonate the NPC, and for the players, who are in for a pleasant chat, compelling argument, or good listening experience. An aspect of an NPC’s personality that deeply affects his behavior and decisions, if known by the PCs, can be exploited to win his confidence or outmaneuver her, depending on the situation.

In recurring NPCs, the GM might create more elaborate and nuanced personalities, or even change a character’s attitude slowly over time— novelists and screenwriters call this character development, and the history of literature and film is filled with works themed solely around events leading to a single change in a character’s outlook. Thus, a character who might begin with no more than the note “conniving and ill-tempered” can evolve dramatically with details like “distrustful of elves” and “sympathetic toward youths who remind her of her lost son.” How much work a GM puts into detailing an NPC’s personality should relate directly to the character’s importance to a campaign. Few PCs will care if the local smith aspires to move to the big city if he never has a speaking role, while a major villain with no greater personality than “heartless and hateful” will likely feel two-dimensional after the third or fourth meeting.

Playing Villains

Source GameMastery Guide pg. 93
As every villain knows, minions cannot be trusted. Some are disloyal, many are incompetent, and the rest are too lazy to do a good job. This gives the PCs a chance to see the villain before the final showdown and become familiar with his personality. The villain can be present while the PCs are chewing through lower-level minions—shouting orders and threats, casting spells and other long-range attacks, taunting the PCs, and escaping before they can get within reach. Depending on the layout of a particular area, the villain can be standing at the back of the troops (and cutting down any who try to flee), looking down on the action from a balcony with a bodyguard or two, and so on. No matter the circumstances, the villain will always have an escape route planned, and a fine sense of timing about when to use it.

Hands-On Management

Source GameMastery Guide pg. 93
Spells like detect evil are the bane of any villain whose identity needs to be a surprise. There are spells and magic items that can conceal a character’s alignment and even make an evil character appear to be good, but the greatest defense is a crowd. At a royal court, for example, there should be a cross-section of people, many of them neutral. Inevitably, though, some will be evil or chaotic. Are the PCs going to scan the alignment of everyone in the castle, or the city? What will they do about those who read as chaotic or evil? If the villain keeps his head down, it could take the PCs forever to work through the list of suspects— time which the true villain can use to great advantage.

Secret Villains

Source GameMastery Guide pg. 93
Spellcasting villains can use magical means to taunt and provoke the PCs without exposing themselves to any danger. Scrying and clairvoyance spells allow the villain to keep an eye on the PCs and adjust the minions’ tactics accordingly, while magic mouth, whispering wind, and similar spells let the villain give orders and issue taunts. Various illusion spells allow the villain to appear before the PCs without any risk.

The Disembodied Voice

Source GameMastery Guide pg. 93
Every good villain has an escape route prepared for use if the final showdown goes in the PCs’ favor. Only fools, fanatics, and psychotics ever fight to the death—most others will try to escape as soon as it becomes apparent they cannot win. There are plenty of spells and magic items that a villain can use to escape and live to fight another day. The sidebar lists some of the spells, and with a little imagination it is possible to come up with more. The keys are planning (some spells will need to be cast in advance) and keeping a close eye on casting times and saving throws. A low-level spell with no saving throw can often be more useful than a higher-level spell that does have a saving throw.

A Bolt-Hole

Source GameMastery Guide pg. 93
Sometimes a villain needs to appear and then get away. With all the versatility and options at the hands of a capable party of adventurers, this can prove quite difficult for the villain and dangerous to the plot should she get trapped. At the same time, PCs should never feel incapable of opposing the villain or suspect the GM of unfairly favoring the antagonist. If it’s important that a villain escape, consider some of the following spells when planning her contingencies.

Airborne Escape: Air walk, elemental body, feather fall, gaseous form, levitate, overland flight, spider climb, wind walk

Barriers: Acid fog, animate plants, antilife shell, blade barrier, black tentacles, cloudkill, entangle, fog cloud, incendiary cloud, interposing hand, magic circle, minor creation, obscuring mist, plant growth, prismatic wall, spike growth, spike stones, solid fog, stinking cloud, storm of vengeance, wall of force, web, wind wall

Hindrances: Dimensional lock, hold person, hold portal, hypnotic pattern, power word blind

Instant Egress: Blink, dimension door, ethereal jaunt, etherealness, phase door, teleport, transport via plants, tree stride, word of recall

Illusory Escape: Hallucinatory terrain, illusory wall, invisibility, minor image, mirror image, mislead, persistent image, programmed image, project image, silent image, simulacrum

Rapid Retreat: Expeditious retreat, haste, longstrider, mount, phantom steed, time stop

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