The opening hook brings both a payment that appeals to the rogues and a chance to smite evil for the paladins, so it works for both character types. At the start, the characters just aim to thwart some evil cultists. The characters get into it because they’re heroes.”Įven adventures that start with an appeal to every character can run short of interest for one type, usually the rogues.Īn adventure like Baldur’s Gate: Descent Into Avernus can switch goals. D&D blogger Merric Blackman writes, “Ultimately the Tyranny of Dragons storyline is a heroic one. Hoard includes an appendix listing character backgrounds that bring them into the adventure. Movies like Kelly’s Heroes (1970) and Three Kings (1999) work from a premise like this.Īlternately, the characters could start the campaign knowing they must play do-gooders. A broader hook might add rumors of a wagon load of treasure in the town. Of course, the rogues and the sensible characters probably tag along because their players came to play D&D, but their players feel the dissonance of making their characters do things they really wouldn’t. If everyone makes a paladin type, the start works. The adventure depends on new characters charging into the town, so it demands heroes willing to ignore impossible odds to do good. Hoard of the Dragon Queen starts with the characters nearing a town under attack by a dragon and an army-foes that add up to near certain death to a 1st-level character. Some adventures risk only hooking one character type. Most D&D games tease a little curiosity with questions like, “What waits under Skull Mountain.” Especially compelling hooks make players ask, “How can this be so?” Television shows like Lost build mysteries that hook viewers who crave explanations.
Vicarious wealth and glory make a solid appeal to players, but curiosity can grab players emotions even more. As the delve continued, I sought ways to add heroic missions. A mere search for fortune failed to motivate them they wanted to become heroes. But when I ran it, the paladin types kept wondering why they bothered with Undermountain. For example, Waterdeep: Dungeon of the Mad Mage presents a megadungeon similar to those that D&D co-creators Dave Arneson and Gary Gygax imagined for their first campaigns. Hooks that only appeal to one type can leave other characters just following along because their players came to play D&D. Playing a paladin with the strength to punish wrongdoers, help the deserving, and right wrongs feels rejuvenating. In our world, we see misdeeds rewarded, good people suffer, and too often we feel helpless to act. Certainly most players of rogue types would say their character is in it for the money. Much of the vicarious joy of playing a rogue comes from gaining wealth.
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Playing a rogue who’s free from ethical burdens and who boasts the power to ignore rules feels exhilarating. In our world, we often feel bound by rules and obligations. Rogues and paladins make popular character perspectives because they bring escapes from either the restrictions or the unfairness of modern life. Steve Winter, a Dungeons & Dragons designer since second edition, writes, “Hooks aren’t about characters they’re about players.” More than popular classes, rogues and paladins represent two ways players often imagine their characters’ outlooks. Appealing to rogues, paladins, and playersĪ good adventure hook appeals to both the party’s rogues and paladins. Every adventure starts with a hook that (1) entices the characters to follow some goal and (2) reveals ways to reach that goal.
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