Using Hero's Journey to design for D&D Next (part 1)

the hero's journey : summary of the steps
This page summarizes the brief explanations from every step of the Hero's Journey.


Departure 


The Call to Adventure
The call to adventure is the point in a person's life when they are first given notice that everything is going to change, whether they know it or not.


Refusal of the Call
Often when the call is given, the future hero refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his or her current circumstances.


Supernaturall Aid
Once the hero has committed to the quest, consciously or unconsciously, his or her guide and magical helper appears, or becomes known.

The Crossing of the First Threshold

This is the point where the person actually crosses into the field of adventure, leaving the known limits of his or her world and venturing into an unknown and dangerous realm where the rules and limits are not known. 

The Belly of the Whale

The belly of the whale represents the final separation from the hero's known world and self. It is sometimes described as the person's lowest point, but it is actually the point when the person is between or transitioning between worlds and selves. The separation has been made, or is being made, or being fully recognized between the old world and old self and the potential for a new world/self. The experiences that will shape the new world and self will begin shortly, or may be beginning with this experience which is often symbolized by something dark, unknown and frightening. By entering this stage, the person shows their willingness to undergo a metamorphosis, to die to him or herself. 

Inititation 

The Road of Trials

The road of trials is a series of tests, tasks, or ordeals that the person must undergo to begin the transformation. Often the person fails one or more of these tests, which often occur in threes. 

The Meeting with the Goddess

The meeting with the goddess represents the point in the adventure when the person experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that a fortunate infant may experience with his or her mother. It is also known as the "hieros gamos", or sacred marriage, the union of opposites, and may take place entirely within the person. In other words, the person begins to see him or herself in a non-dualistic way. This is a very important step in the process and is often represented by the person finding the other person that he or she loves most completely. Although Campbell symbolizes this step as a meeting with a goddess, unconditional love and /or self unification does not have to be represented by a woman. 

Woman as the Temptress

At one level, this step is about those temptations that may lead the hero to abandon or stray from his or her quest, which as with the Meeting with the Goddess does not necessarily have to be represented by a woman. For Campbell, however, this step is about the revulsion that the usually male hero may feel about his own fleshy/earthy nature, and the subsequent attachment or projection of that revulsion to women. Woman is a metaphor for the physical or material temptations of life, since the hero-knight was often tempted by lust from his spiritual journey. 

Atonement with the Father

In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In many myths and stories this is the father, or a father figure who has life and death power. This is the center point of the journey. All the previous steps have been moving in to this place, all that follow will move out from it. Although this step is most frequently symbolized by an encounter with a male entity, it does not have to be a male; just someone or thing with incredible power. For the transformation to take place, the person as he or she has been must be "killed" so that the new self can come into being. Sometime this killing is literal, and the earthly journey for that character is either over or moves into a different realm. 

Apotheosis

To apotheosis is to deify. When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. This is a god-like state; the person is in heaven and beyond all strife. A more mundane way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return. 

The Ultimate Boon

The ultimate boon is the achievement of the goal of the quest. It is what the person went on the journey to get. All the previous steps serve to prepare and purify the person for this step, since in many myths the boon is something transcendent like the elixir of life itself, or a plant that supplies immortality, or the holy grail. 

Return 

Refusal of the Return

So why, when all has been achieved, the ambrosia has been drunk, and we have conversed with the gods, why come back to normal life with all its cares and woes? 

The Magic Flight

Sometimes the hero must escape with the boon, if it is something that the gods have been jealously guarding. It can be just as adventurous and dangerous returning from the journey as it was to go on it. 

Rescue from Without

Just as the hero may need guides and assistants to set out on the quest, often times he or she must have powerful guides and rescuers to bring them back to everyday life, especially if the person has been wounded or weakened by the experience. Or perhaps the person doesn't realize that it is time to return, that they can return, or that others need their boon. 

The Crossing of the Return Threshold

The trick in returning is to retain the wisdom gained on the quest, to integrate that wisdom into a human life, and then maybe figure out how to share the wisdom with the rest of the world. This is usually extremely difficult. 

Master of the Two Worlds

In myth, this step is usually represented by a transcendental hero like Jesus or Buddha. For a human hero, it may mean achieving a balance between the material and spiritual. The person has become comfortable and competent in both the inner and outer worlds. 

Freedom to Live

Mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred to as living in the moment, neither anticipating the future nor regretting the past. 

Hero's Journey : Summary of Steps

City of Clocks Industrial Fantasy Systemless Setting Book by Battlefield Press, Inc. — Kickstarter

City of Clocks is a systemless setting product, written by RPG veteran James Knevitt and usable with the system of your choice, in which players can take the roles of scheming nobles, Faction partisans, powerful Incarna, or anything else the setting has to offer. City of Clocks details a rich history, eight Noble Houses, ten Factions, forty-eight districts, over a hundred unique locations, and dozens of characters.

City of Clocks Industrial Fantasy Systemless Setting Book by Battlefield Press, Inc. — Kickstarter

D&D Next artical from Rodney Thompson

Bounded Accuracy

Legends and Lore

Rodney Thompson

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  Conventional D&D wisdom tells us that the maxim "the numbers go up" is an inherent part of the class and level progression in D&D. While that might be true, in the next iteration of the game we're experimenting with something we call the bounded accuracy system.
The basic premise behind the bounded accuracy system is simple: we make no assumptions on the DM's side of the game that the player's attack and spell accuracy, or their defenses, increase as a result of gaining levels. Instead, we represent the difference in characters of various levels primarily through their hit points, the amount of damage they deal, and the various new abilities they have gained. Characters can fight tougher monsters not because they can finally hit them, but because their damage is sufficient to take a significant chunk out of the monster's hit points; likewise, the character can now stand up to a few hits from that monster without being killed easily, thanks to the character's increased hit points. Furthermore, gaining levels grants the characters new capabilities, which go much farther toward making your character feel different than simple numerical increases.
Now, note that I said that we make no assumptions on the DM's side of the game about increased accuracy and defenses. This does not mean that the players do not gain bonuses to accuracy and defenses. It does mean, however, that we do not need to make sure that characters advance on a set schedule, and we can let  each class advance at its own appropriate pace. Thus, wizards don't have to gain a +10 bonus to weapon attack rolls just for reaching a higher level in order to keep participating; if wizards never gain an accuracy bonus, they can still contribute just fine to the ongoing play experience.
This extends beyond simple attacks and damage. We also make the same assumptions about character ability modifiers and skill bonuses. Thus, our expected DCs do not scale automatically with level, and instead a DC is left to represent the fixed value of the difficulty of some task, not the difficulty of the task relative to level.
We think the bounded accuracy system is good for the game for a number of different reasons, including the following:
Getting better at something means actually getting better at something. Since target numbers (DCs for checks, AC, and so on) and monster accuracy don't scale with level, gaining a +1 bonus means you are actually 5% better at succeeding at that task, not simply hitting some basic competence level. When a fighter gets a +1 increase to his or her attack bonus, it means he or she hits monsters across the board 5% more often. This means that characters, as they gain levels, see a tangible increase in their competence, not just in being able to accomplish more amazing things, but also in how often they succeed at tasks they perform regularly.
Nonspecialized characters can more easily participate in many scenes. While it's true that increases in accuracy are real and tangible, it also means that characters can achieve a basic level of competence just through how players assign their ability bonuses. Although a character who gains a +6 bonus to checks made to hide might do so with incredible ease, the character with only a naked ability bonus still has a chance to participate. We want to use the system to make it so that specialized characters find tasks increasingly trivial, while other characters can still make attempts without feeling they are wasting their time.
The DM's monster roster expands, never contracts. Although low-level characters probably don't stack up well against higher-level monsters, thanks to the high hit points and high damage numbers of those monsters, as the characters gain levels, the lower-level monsters continue to be useful to the DM, just in greater numbers. While we might fight only four goblins at a time at 1st level, we might take on twelve of them at 5th level without breaking a sweat. Since the monsters don't lose the ability to hit the player characters—instead they take out a smaller percentage chunk of the characters' hit points—the DM can continue to increase the number of monsters instead of needing to design or find whole new monsters. Thus, the repertoire of monsters available for DMs to use in an adventure only increases over time, as new monsters become acceptable challenges and old monsters simply need to have their quantity increased.
Bounded accuracy makes it easier to DM and easier to adjudicate improvised scenes. After a short period of DMing, DMs should gain a clear sense of how to assign DCs to various tasks. If the DM knows that for most characters a DC of 15 is a mildly difficult check, then the DM starts to associate DC values with in-world difficulties. Thus, when it comes time to improvise, a link has been created between the difficulty of the challenge in the world (balancing as you run across this rickety bridge is pretty tough due to the breaking planks, especially if you're not a nimble character) and the target number. Since those target numbers don't change, the longer a DM runs his or her game, the easier it is going to be to set quick target numbers, improvise monster attack bonuses and AC, or determine just what kind of bonus a skilled NPC has to a particular check. The DM's understanding of how difficult tasks are ceases to be a moving target under a bounded accuracy system.
It opens up new possibilities of encounter and adventure design. A 1st-level character might not fight the black dragon plaguing the town in a face-to-face fight and expect to survive. But if they rally the town to their side, outfit the guards with bows and arrows, and whittle the dragon down with dozens of attacks instead of only four or five, the possibilities grow. With the bounded accuracy system, lower-level creatures banding together can erode a higher-level creature's hit points, which cuts both ways; now, fights involving hordes of orcs against the higher-level party can be threatening using only the basic orc stat block, and the city militia can still battle against the fire giants rampaging at the gates without having to inflate the statistics of the city guards to make that possible.
It is easier for players and DMs to understand the relative strength and difficulty of things. Under the bounded accuracy system, a DM can describe a hobgoblin wearing chainmail, and, no matter what the level of the characters, a player can reasonably guess that the hobgoblin's AC is around 15; the description of the world matches up to mechanical expectations, and eventually players will see chainmail, or leather armor, or plate mail in game and have an instinctive response to how tough things are. Likewise, a DM knows that he or she can reasonably expect players to understand the difficulty of things based purely on their in-world description, and so the DM can focus more on the details of the world rather than on setting player expectations.
It's good for verisimilitude. The bounded accuracy system lets us perpetually associate difficulty numbers with certain tasks based on what they are in the world, without the need to constantly escalate the story behind those tasks. For example, we can say that breaking down an iron-banded wooden door is a DC 17 check, and that can live in the game no matter what level the players are. There's no need to constantly escalate the in-world descriptions to match a growing DC; an iron-banded door is just as tough to break down at 20th level as it was at 1st, and it might still be a challenge for a party consisting of heroes without great Strength scores. There's no need to make it a solid adamantine door encrusted with ancient runes just to make it a moderate challenge for the high-level characters. Instead, we let that adamantine door encrusted with ancient runes have its own high DC as a reflection of its difficulty in the world. If players have the means of breaking down the super difficult adamantine door, it's because they pursued player options that make that so, and it is not simply a side effect of continuing to adventure.
This feeds in with the earlier point about DMs and players understanding the relative strengths and weaknesses of things, since it not only makes it easier to understand play expectations, but it also ties those expectations very firmly to what those things are in the world. Now, we want to avoid situations where DMs feel bound by the numbers. ("Hey," says the player, "you said it was an iron-bound wooden door and I rolled a 17, what do you mean I didn't break it down?") We hope to do that by making sure we focus more on teaching DMs how to determine DCs and other numbers, and letting them adjust descriptions and difficulties based on their needs.

BBC News - Swansea University Egyptian Centre acquires relics

Possible to tie in CoC adventure with strange things a foot after 40 years.


BBC News - Swansea University Egyptian Centre acquires relics

"Body Jars," Cliff Coffins Are Clues

Great real world article to help inspire a DM. Could lend bigger need to have rope use and having sky dungeons.



Pictures: "Body Jars," Cliff Coffins Are Clues to Unknown Tribe#/body-jars-log-coffins-unknown-tribe-clay-jar_53325_600x450.jpg#/body-jars-log-coffins-unknown-tribe-skeleton_53329_600x450.jpg#/body-jars-log-coffins-unknown-tribe-rings_53327_600x450.jpg#/climber-skull-himalayan-cave-culture_32522_600x450.jpg#/body-jars-log-coffins-unknown-tribe-rings_53327_600x450.jpg#/body-jars-log-coffins-unknown-tribe-researcher_53326_600x450.jpg#/body-jars-log-coffins-unknown-tribe-skulls_53324_600x450.jpg

Monte Cook's - Logic in RPGs

Monte Cook (one of the designers of D&D 3E, and until recently of D&D Next) has written a short essay on "Logic in RPGs" over on his journal, The Chapel Perilous. It largely deals with the concept of rules-heavy and rules-light systems ("rulings not rules") and the effects such systems have on gameplay, while clearly stating his preference for the latter. It's not a new theory by any stretch, but it goes some way to codifying it clearly. Thanks to Mark at CMG for the link.




You can read the essay here.

]The Chapel Perilous - Logic in RPGs

D&DNext and Tolkien, Film, and the Digital Imagination

Wonderful article  possible to tie in
 with Mike Mearls article.

Byte-Sized Middle Ages: Tolkien, Film, and the Digital Imagination

http://www.koboldquarterly.com/k/front-page12578.php

Thanks to Wolfgang Baur for his interview,