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Cast of Characters

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Cast of Characters

Source GameMastery Guide pg. 80
While player characters provide the focus and driving force of a game’s plot, over the course of even a single adventure dozens or even hundreds of other characters take their entrances and exits, sometimes aiding, sometimes threatening, yet always contributing something to the tale. These are nonplayer characters, the populations of entire campaign worlds, the monsters and villains of plots crude and nefarious, allies and agents, royals and shopkeeps, and the limitless arsenal of a storyteller’s imagination. For every player character with complete statistics and volumes of background there exist countless NPCs, some just as nuanced and well developed as veteran heroes, others two-dimensional and stereotyped, destined to speak but once before fading back into anonymity. Regardless of their role or impact on a campaign, a GM’s legion of NPCs enables him to weave the tale he has to tell. Some swiftly become favorites, either of the players or GM, and take on roles bordering on the PCs’ significance. Others are challenges to be avoided or overcome, whether reoccurring opponents or ravenous things straight from a bestiary’s pages. Still others exist merely to give color and life to a world, commoners and passersby who merely brush against the PCs in their adventures, aiding, hindering, or simply living their lives as natives of a shared fantasy. Whether recurring or transitory, helpful or menacing, NPCs serve as the living descriptions of a campaign world, each eliciting a reaction from the collected players, and each helping to take the tale beyond the realm of one-sided narrative and into the experience of a vibrant, living adventure.

This chapter delves into the world of nonplayer characters: from designing the types of characters a GM might want to include in his story to making even the most peripheral personalities memorable. Beyond such advice and toolboxes of character creation also comes advice on detailing those most important of NPCs: villains. As with many sections in this book, this chapter can serve as a reference and toolbox for GMs during the course of their games, making use of the tables at the end of the chapter either as aids to give unanticipated characters a little extra flair or resources to provide your favorite NPCs the details they need to be truly memorable. In addition, an NPC Sheet is included in the back of this book for you to record the details of the NPCs you create.

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.