Being the Weaver

A Weavers Role
The Pattern
Making Danger Fun
Running the Game

A Weavers Role

Like many other tabletop RPGs, Q! is an asymmetrical game, and playing as the Weaver sets you apart as the “Game Master” for the upcoming campaign. It is a role that has more responsibility and takes more time and effort to play. But it also comes with a great deal of reward. You will get to explore all sorts of characters to play as, and will be hero, antagonist, and friend to the other players characters. You will get to explore your ideas and you’ll get to surprise and delight your friends with exciting twists and turns. In this companion section you will find all the tips and tricks I can provide to help you play as the Weaver.

Making the Monster

In Q!, the Quandary is an individual specific threat that you’ll create to challenge the other players. It might be an antagonist or group of antagonists with an insidious goal that needs to be thwarted. It might be an environmental phenomena or a strange occurrence that messes with the rules of reality. It might be a specific dangerous location they must escape, like a dungeon or far away realm. As the Weaver, one of your roles is creating and fleshing out these challenges. Each Quandary might be a single session, or may take a few sessions to complete.

Linking together each Quandary to the next is the framework of the group dynamic you've picked. Eventually your Quandaries should lead you to the final climax of the campaign. 

Building Backdrops

In order to play the game, you’ll need the game world. As a Weaver, It’s your responsibility to add detail, maintain continuity, and create interesting spaces and characters for the other players to interact with. The places you create are like the sets of a movie, they are important tools in your storytelling. You want them to be believable and be prepared for players to ask questions about their surroundings. You'll need to be mindful to keep things setting and theme appropriate and to integrate player backstories and ideas into the world.

Telling Tales

One of the most important skills you’ll be developing is learning to keep the story moving. You’ll be adapting player ideas into story elements on the fly. You’ll have to be ready to do a lot of improvisational thinking because the other players are going to decide to do things you never accounted for. You’ll need to try and keep everyone focused on the goal of the session, while being prepared to change the goal if they decide to go off pattern.

Leading by Example

As the Weaver, one of the hardest tasks you’ll have to get used to is being the de facto leader. Whenever something that is not covered directly by the rules comes up, and it will often in a rules light system like Q!, you will be tasked with hearing the opinions of everyone involved, weighing that against what makes the most sense according to the agreed upon rules of the world, and then making a decision as to what happens so the gameplay may continue. The other players are going to look to you for tips and ideas for their quirks and character concepts. And you will inevitably have to arbitrate disputes between players. Remember the goal is to be fair, firm, and forward thinking.

Tools of the Trade

The first thing every Weaver needs to get started is a Pattern Book. This is going to be your master notebook. You can have a digital one using the app of your choice, or you can opt for a physical binder, it’s a personal decision and they both have their pros and cons. The important thing is that it lets you keep all the important details you come up with in one place.

Once you have your Pattern Book, the second thing you are going to want to get is a small pocket sized notepad and writing implement, or a note taking program for your cell phone. This is gonna be your Forget-Me-Not, and you should keep it on you so that you can record the creative ideas you have throughout the day. These ideas will make up the majority of the inspiration for your hooks when you are making patterns.

If you are playing in person, you may need some sort of screen to hide your notes and dice rolls.

The last thing you’ll need is your favorite pair of six-sided dice. Of course, each player can bring their own dice, collecting new ones can be a lot of fun. 

A Personal Note

Playing as the Weaver is a huge amount of fun. It is a very rewarding experience. But it is also really easy to burn out, always being the one in charge of telling the story. I personally recommend that player groups try to take turns being the Weaver. When a campaign comes to an end, it’s good practice to take a break and be a Thread in the next campaign. Spreading out the responsibility for being the Weaver also helps build the roleplaying skills of the whole group. 

The Pattern

Weaving a Pattern
Every Quandary starts with the Pattern, a structural framework for creating an interactive story.

The Pattern has the following parts:
  • The Idea: A summary of the threat at play
  • The Danger: Who are the antagonists? What are they capable of?
  • The Lead Up: What happened prior to the start of the story?
  • The Hook: What happened that sets off the players' awareness of the Quandary?
  • The Play: What does the danger do at each stage of its plan?
  • The Midnight Moment: What are the stakes if the threat is allowed to play out without being stopped?
  • The Clues: What will lead the players to the important aspects of the story?
  • The Possible Places: What locations are relevant to the story? What can be found there?

Let's examine each of these components in more detail.

We’ll build an example Pattern as we go. 

Werewolf Blood Magic

The Idea

A group of werewolf tavern owners have been kidnapping and killing people. They are using blood magic to experiment with making their curse contagious in food and drink. They have almost perfected the formula and plan to poison the town water supply to create a whole community of werewolves.

The Danger
We’re gonna make a list of the antagonists and threats here. A danger sheet should identify:
  • What are the monsters or threats, what do they look/act like?
  • What are their cover stories, what makes attacking them outright hard to do?
  • What is the public knowledge of this creature? What are the actual facts?
  • What are their abilities, combat tactics, and health pools?
  • Remember to adjust these to suit the party size and combat capability. You want challenges to be fun and reward planning, not be frustrating or unfair.

Werewolves:

Fact

Lycanthropy is a “blessing” from a long forgotten celtic era goddess of the hunt. People who contract it have a psychedelic experience under the next full moon where they will transform into a werewolf, hunt prey, and eventually have a conversation with this goddess. During which their hearts desires will be laid bare and they will be bestowed a blessing that fits them. After that first transformation, they can change forms at will. They do still transform regardless of their will under the full moon, but they remain in control of themselves and retain their human faculties.

Public Myth

Lycanthropy is a curse from the gods, turning people into psychotic uncontrollable killing machines out for blood. This stems from the fact that many first moon werewolves have gone on killing sprees, especially in places where a forest isn’t accessible to hunt in. Many unfortunate werewolves have woken up covered in blood only to find themselves the target of a hunt by the city guard.

Abilities

Superhuman Strength - Even in human form, they are much stronger than any average human. Grapple Moves against them fail unless your roll modifier is at least +4. They can break down doors and other barricades very quickly.

Superhuman Senses - They have a heightened sense of smell and dark vision.

Regeneration - Unless a wound was caused by a silver weapon, they heal from it at the end of the round. Decapitating or completely destroying the body will still kill the werewolf.

Natural Weapons - In wolf form they have a [3 Wound] bite they can use on a grappled target and a [2 Wound] claw swipe attack they can use as a retaliation in melee. These attacks have a 1 in 6 chance of infecting the victim with lycanthropy if they survive the encounter. If a character takes wounds from them, roll a die behind the screen. On a 1, the character contracts lycanthropy.

Dark Mothers Blessing - Each werewolf gains an innate magical gift on their first transformation. 

Combat Tactics

Pack Fighters - In the event any one of them are caught in a fight alone, they will do everything they can to fall back to the rest of their group.

Rational - They will act in their best interest and try to escape if they become too injured or think the odds are too stacked against them

Melee Fighters - They will try to grapple and bite their opponents, and use their claws to swipe at anyone that gets close or tries to attack them 

Other Details

Health Pool: 7 or 8 Wounds
Threat Level: Villain
Threat Type: Chimera 

The Stubbs Family:

Arlene
Arlene Stubbs
Blessing of Blood: Can cast spells in the domain of blood magic
Elenore
Elenore Stubbs
Blessing of Shadow: Can shadow step and cast darkness
Micky
Mickey Stubbs
Blessing of Wind: Has supernatural speed

Arlene will use blood bending to make one of the characters move against their will. And if forced to, will use the vial of acid she keeps in her pocket.

Elenore will cast darkness on the target and use guerilla tactics to stab them from the dark with her knives.

Micky will dodge or catch projectiles and can take an extra action in a round. He will try to close the distance and point blank double barrel antagonists with his gun. 

Feral Werewolf

The Feral Child

Found in the woods by the Stubbs family. This ~10 year old girl is completely feral, has no communication skills, and can’t control her werewolf transformation. She is kept sedated and locked in a cage in a hidden room in the tavern's basement. Her arms are covered in marks from the needles used to draw her blood.

If she regains consciousness, she will transform and try to escape, attacking anyone in her way. Anyone attacked by her has a 100% chance of catching lycanthropy.

She is weakened by her imprisonment and blood loss, as such, she only has a health pool of 4. 

The Lead Up
Most stories actually start long before the player characters arrive on the scene. Planning out the important actions that lead up to the start of the session can help you be able to answer player questions on the fly and help you flesh out your idea about what the antagonists are up to. Try to ask yourself the following questions:
  • What motivates your antagonist?
  • What allows them to be a threat?
  • Why have they only now put their plan into motion?
  • Why are they in the position they are now?

The Stubbs family have been living in town for their whole lives. Eleanor's father built the tavern over 70 years ago. Elenore met Mickey at a harvest festival, they fell in love and married 25 years ago. Shortly after they were married, Eleanor turned Mickey into a werewolf after he asked her to. Eleanor inherited the tavern when her father died 20 years ago. Arlene was born later that year. 

The Stubbs have lived comfortably hidden among the townspeople. Once per month they “go hunting” and the tavern is closed up early. They hunt game as werewolves under the full moon, and then use that meat for the tavern's meals. No one in town has ever questioned this behavior, as it seems perfectly normal. 

Elenore and Mickey are simple people who don’t have much ambition beyond living comfortable lives as well respected, wealthy business people. They have cultivated a lot of respect from the local community by offering affordable drinks and meals for decades. Arlene is more headstrong and curious about the world around her, she embraced advanced learning early in life. She is particularly interested in the study of magic because of her blessing. 

Elenore and Mickey are happy living in hiding, but Arlene doesn’t like the fact she has to hide that she is a werewolf, she secretly wishes everyone in town were werewolves. But because lycanthropy has a low chance of being spread and a victim is more likely to die from the attack than turn, it is nothing more than a fantasy. 

Everything changed when they found another werewolf, a young girl, in the woods one night a few months ago. Realizing that the child had clearly been abandoned by someone when her nature was revealed, they brought her home. However it soon became clear she was completely feral, and a danger to herself and others. They locked her up in a cage in their hidden room in the tavern’s basement. 

Arlene’s blessing allowed her to sense that there was something different about the girl's blood. After doing some testing, she learned that the girl's blessing makes her lycanthropy much more transmissible. Learning this, Arlene hatched a plan. She could use this girl's blood, and her blood magic to make a potion to turn people into werewolves without having to attack them. 

She convinced the rest of the family that if they turned the whole town into werewolves they would finally be able to live free. The elder Stubbs are a little reluctant but they agree to go along with the plan. Arelen started doing experiments and realized she would need a lot more blood. 

They have abducted people every few nights for the last couple weeks. They focused on people who would likely not be missed, and drained their blood for Arlene’s experiments, then dumped the bodies outside town. They made it look like the work of vampires just in case the bodies are found. 

Arlene has almost finished her formula, she just needs to make a few tweaks to it so that it stops turning people into monsters. A few more tests and it will be ready to deploy. 

Old Lady

The Hook

This is the plot point we are going to use to introduce the rest of the players to our story idea. We want to bait the hook, and give them some sort of incentive to bite. Ideally you want to give them just enough to make them curious, without being obvious about what the danger is, remember, figuring that out is part of the fun of the game.

It could be all sorts of things, a discovered body, a frantic and potentially unreliable witness, a vague request for aid from an eccentric scientist. It should be tailored to the group dynamic, and whenever possible tied to one or more of the player character’s MEAT and BONES elements. 

The group of private monster hunters received a plea for help from Heather Ward, who says that her partner, Max, was found dead yesterday morning in the woods outside the town. Max was exsanguinated by puncture wounds on his neck and still in possession of his valuables. He was found just off the road, obfuscated in a patch of bushes and trees.

The town guard determined that it was likely a monster attack and because Max and Heather are Bliss-Leaf users, they say he probably wandered out of town in a drug induced stupor and got himself killed. They don’t want to devote any resources to the case.

Heather doesn’t believe that, she thinks her partner's body was dumped after being killed, because there is no reason he would have been out there, bliss-leaf or not. She offers to pay the group to find out what happened to Max, and if it was a monster, to exterminate it. 

The Play

This is where you plan out the behind the scenes actions of your antagonists and establish their plans. You’ll be using this to set the timeline to the midnight moment. It is a blueprint for the worst possible circumstances the player’s could face and how things will go if the antagonist is not stopped. Consider how long it will take for your antagonists to accomplish tasks and what things they will need in order to accomplish them. 

Day 1:

Arlene has captured a drunk the night before. She drains him and mixes his blood with a little of the feral childs. Then does some alchemical and magical processes to it, turning it into a potion. She doses one of the tavern patrons' drinks later that night with the potion. A few hours later, back at home, he transforms into a deformed wolf-like monster and goes on a rampage, killing his family and breaking out into the street. He is put down by the town guard if the players don’t do it themselves. Meanwhile Elenore uses her blessing to watch this unfold from the rooftops and take notes for Arlene. Mickey uses his blessing and the cover of darkness to dispose of the wino’s body in the river fast enough to not be spotted. The body washes away.

Day 2:

Arlene has captured a prostitute and drains her blood. She makes a new potion. This time she laces a sailor from the visiting merchant ship. Back on his ship shortly thereafter, he transforms into a more werewolf-like monster than the man from last night, and kills most of the crew in their bunks before eventually falling into the water and drowning due to not being able to swim in this mutated form. Again Elenore takes notes and Mickey disposes of the prostitute's body, this time throwing it into the waste pit outside town.

Day 3:

Arlene has captured a junkie and drains his blood. She makes a new potion. She laces a traveling merchant's drink. This time the man transforms within a few minutes. He is a fully formed werewolf, but he has a seizure and dies. Unbeknown to Arlene, he had a rare allergy to one of the compounds in the potion. Everyone in the tavern freaks out at this event and word soon spreads. Within a few minutes the town guard arrives on the scene. The investigation occupies the Stubbs for the majority of the evening and the tavern is closed early. It is eventually assumed that he must have been a werewolf all along and died of some naturally occuring medical emergency, since no other cause seems apparent. His body is taken away for autopsy.

Day 4:

Early in the morning, before sunrise, Mickey disposes of the junkie's body in the river.
Arlene works to figure out what happened with the potion, but can’t find anything wrong with it, and eventually decides to test it again, but since there is too much heat on the tavern now she decides to test it somewhere else. She mixes the potion into a whiskey flask and goes to the park where she “accidentally” drops it beside a man begging for money. Once the man sees she has walked away he takes a sniff and realizing it's full of whiskey, drinks it. Moments later he transforms into a werewolf, setting off a mass panic in the park as he goes on a killing rampage. The town guard eventually corners and kills the werewolf. A full investigation is started. His body is also taken away for autopsy. The junkie's body is found tangled in the anchor line of a river barge and reported. 

Day 5:

Arlene captures a drunk man who was peeing in the alley. She drains him and makes another potion. She is fairly certain she has it right this time and just needs to test it. She laces a box of pastries and gives them to a group of young people playing ball in the public court. They all turn into werewolves minutes later. This time they are all confused and terrified by the experience, not sent into a mindless rage. They try to run home to their parents, but are intercepted by the town guard, who think they are the werewolves they have been put on high alert for. They start a hunt and chase the teenage werewolves down. Who, unable to talk properly with their wolf mouths, are killed. Arlene uses the chaos as a distraction to get into the town's water supply unopposed.

The Midnight Moment

So the players got lost following a red herring, or didn’t take the threat seriously, or were defeated and had to retreat. Just like in the real world, sometimes evil wins. And the Midnight Moment is what happens if the antagonist succeeds in the story.

Decide where the point of no return is, and what the consequences for the world will be now that the antagonist has won. Remember that just because the antagonist got what they wanted doesn’t mean they will be happy.

Potion Werewolf
Burn the Werewolf

Arlene pours her potion into the town's water supply. It contaminates all the drinking water. People all over town soon start turning into werewolves, chaos and rioting occur. About a quarter of the population are killed over the next couple days. But eventually everyone left in the town are werewolves and things calm down.

They become known as the werewolf town, and life returns to a new normal. Eventually Arlene comes out as the one who caused the whole thing, thinking she would be revered. Instead she is put on trial for the deaths of the great riot.

She takes all the blame, saying her parents had no idea what she was doing. She is burned at the stake and her parents leave town, never to be seen again.

The Possible Places

We should make a list of the important places we have come up with and make up a description of who and what is there. You may want to find some pictures to help portray these places to the other players.

The Yellow Bush Tavern

  • Located near the docks
  • 2 floors with a large central fireplace and balcony seating on the second floor.
  • There is a bar and swinging doors to the kitchen.
  • There is a washroom and 3 private booths available.
  • The kitchen has a back door to the alley and a door leading to the basement stairs.
  • The basement has a pantry, wine and beer casks and bottles, and a small office.
  • There is a secret door behind the wine casks that takes superhuman strength or more than one person to move.
  • The secret room behind the door has an alchemy lab and the caged feral werewolf.
Tavern by the Docks

The Initial Crime Scene

  • A dense section of bushes and trees, just off the road outside town.
  • Max’s body was found here.
Road outside of town

The Residential District

  • Rows of similar looking 2 story townhouses.
  • Lots of citizens live here.
  • The first transformation occurred here.
Residential District

The Merchant Ship

  • A large ocean going sailing vessel. Docked in the harbor.
  • Loaded with cargo from around the region
  • About 2 dozen sailors on board, they are on shore leave for a few days
  • Site of the second transformation
Merchant Ship

The Park

  • Located in the center of town.
  • Large green space with winding walking paths through cultivated forest.
  • Busy public activity space.
  • Attracts a community of homeless people
urban Park

Water Treatment Plant

  • A large industrial complex where the town's water is brought in from the river, processed, and distributed through a pipe system to the citizens homes and businesses
  • Not open to the public
  • Normally too well guarded to infiltrate
Industrial Building

The Clues

Now that you have your antagonist's plan fleshed out, and we know where the important places are, we are onto the last step of the pattern. Make a list of the possible clues that could lead the player characters towards the antagonist, and help them figure out what is happening. 

Mickeys Footprints
  • Any time Mickey has dumped one of the bodies he has left behind footprints.
  • They are too deep to be one person's weight and the way they are spaced out says he was moving way faster than a person should be able to.
The Crime Scenes
  • If you investigate the crime scenes it is clear the bodies were moved after death.
  • Trails lead back to the Docks and the area around the tavern.
The Drained Bodies
  • If you examine the bodies you can determine that the puncture wounds on their necks were made with medical instruments, not with fangs.
  • They were hung upside down, based on the marks around their ankles.
The Monsters
  • The potion victims all had dinner at the Tavern.
  • One man dies in the tavern after a reaction.
The Transformed Kids
  • If the kids can be saved, they can identify Arlene.
Shady Dealings
  • If you watch the tavern at night you will see the draining victims walk into the back door, they are being blood bent by Arlene
  • If you watch the tavern in the pre-dawn morning you will see a blur leaving, it’s Mickey carrying the dead bodies.

Final Pass

The last thing you want to do is take a final pass over your pattern. Make sure it makes sense and that there are no holes in your plot. Double check that it is possible for the other players to figure out the antagonist’s plan with the clues you have given them. Try to make sure there is still a chance for them to solve the mystery even if they completely fail the investigation, albeit at a terrible cost. 

Making Danger Fun

How to Run Hazard Time
As soon as the intention of violence or the potential for injury occurs, you should declare Hazard Time.

As soon as you do, everything in the game freezes and we slow down to round by round gameplay. Each round is approximately 5 seconds of time.

A player can only take one limited action and one bonus action during a round. Players can also communicate a short message as a free action each round.
  1. Start by giving a summary of where every character in the scene is located, the layout of the space they are in, and any obstacles or potential threats they are aware of. If they are aware of it, tell them what the antagonist or threat seems to be about to do.
  2. Decide where in the round the antagonist will take its turn. If the antagonist got the drop on the party, you may want them to get an action right away at the top of the first round, or if the antagonist is particularly large or slow you may choose to have it act at the end of the round. It’s up to you to look at the situation and nature of the creature they are facing to decide when in the round the antagonist acts.
  3. Ask what each character intends to do. There is no turn order in Hazard Time, a character can act as soon as they know what they want to do, provided they have not already taken an action in the round. Characters can also act together at the same time. If the issue of conflicting resolutions occurs, the player with the higher reflex score acts first, if their reflex scores are tied, the higher roll acts first. You decide if an antagonist resolves their actions faster than a player, base this decision on the nature of the creature and the action being taken.
  4. Once you have resolved all the player rolls and made sure every NPC has taken an action, start again at the top of a new round. Play continues like this until the player characters are no longer in danger.

Making Use of Your Monsters

So you may have noticed that the example danger sheet from the pattern guide earlier doesn’t list any attributes for the werewolves. That’s because in Q!, NPCs don’t make rolls. They always get a mixed success on moves they make, and can not get major successes.

If they receive penalties, like a -1 forward, that amount of damage is removed from any attack they do instead. If they receive buffs, like a +1 forward, that amount of damage is added to any attack they do instead.

Just like the player characters are defined by their quirks, your antagonists are defined by their unique abilities and equipment. Make sure to give them interesting ones.

Whenever you can, try to have a picture of your antagonist. Being able to visualize the creature can make the threat feel much more real. 

Things to avoid when making an antagonist:
  • Huge health pools: Damage sponges are a boring way of making a monster hard to kill. Try to avoid going over 10 wounds and opt for things like armor, regeneration, immunity to damage types, allies to back them up, or tactical strategy if you want to make your antagonists hard to kill.
  • Mind Control: It isn’t very fun to have character agency taken away from you, especially for long periods of time. Opt for clones or shadow versions of characters if you want to have the players pitted against each other, secretly ask a player to play the evil version of their character. If a monster is going to have mind control abilities in a fight, try to limit it to a single action at a time or make it possible to resist or prevent.
  • Instant Kill Moves: It’s not fun to have no chance to avoid something or to learn from a mistake. If you really need to, opt for having the antagonist attack some NPC if you need to show off a potential extreme threat.
  • Deus ex Machina: Don’t suddenly add powers or change antagonist mechanics mid-fight in order to counter an unexpected player tactic, reward their creativity with a victory, and have the NPCs react to the situation realistically instead. Then prepare for the party to use that strategy again in the future, being ready to counter it with context next time.
Pack of Wolves
Mastermind villain

Tactics

An important thing to consider when building encounters, is how intelligent and self aware are your foes? You want to avoid giving your intelligent antagonists “Game AI” behavior.

They shouldn’t charge directly at melee characters, stand in the open and shoot, or engage in fights that pose overwhelming odds against them. They should act with self preservation and try to flee if they are likely to die. You should keep tactics like flanking, reinforcement, and guerilla attacks in mind.

Try to avoid making encounters that rely simply on winning mathematical battles with dice, instead, try to make them more about improvising creative solutions to fights.

Threat Levels
Your antagonists are going to fall into one of the following threat levels:
  • Obstacles: These are your minor combat threats. They are used to add action to a scene. They are only really a threat if encountered in large numbers. They will have a health pool of 3-4 and deal 1-2 wound attacks.
  • Minions: These are your standard threats, and will likely make up the majority of your combat encounters. They are used to make an area dangerous, or to protect something critical to the antagonist’s plan. They will have a health pool of 5-6 and usually deal 2-3 wound attacks.
  • Villains: These are your main antagonists, and the category that the quandaries main threat usually falls under. They are the driving force behind the action and should present a real and dangerous challenge in combat. They will usually have a health pool of 6-10 and deal 3 wound attacks. They will also always have unique abilities.
  • Overlords: These are your Big Bads, NPCs who’s abilities outstrip the player characters by a significant enough margin to make them overpowering. These sort of antagonists should be used to establish world building and setting, but you should avoid having them engage in direct confrontation with the players unless they have an equalizer.

Threat Types

There are a lot of ways to categorize your antagonists. This is the method I use. These categories are entirely administrative and don’t have gameplay mechanics. You may choose a different system, and many antagonists may fall into more than one category. 

Chimeras

Human antagonists who have been tainted or altered by something. Sometimes, the mundane host can be freed to defeat the monster, for example an exorcism curing a possession. But sometimes they have to be destroyed, such as a decaying zombie past the point of being saved.

Slashers

Antagonists with a psychopathic and unrelenting desire to torture and murder others. They may have signature weapons or a calling card. They are almost always exceptionally strong and resilient individuals and often can return from injuries that would have killed other people.

Cultists

Antagonists who zealously worship an entity or concept of some kind. They commit atrocities in the name of their belief and can encompass large groups of people, all hidden in plain sight. They will have enigmatic and secretive rituals and may be compelled, or acting of their own free will.

Spellcrafters

Antagonists who have the ability to use magic. They may or may not be able to control their powers. Their abilities will vary based on the magic system you are using. They can be simple hedge witches, capable of basic folk spells. Or all powerful archmages, able to bend reality to their will.

Scientists

Antagonists who have used the power of science to disastrous effect. This includes both the intentionally evil and the misguided. They will have created a unique and novel device or creature that is causing havoc, that they may or may not be in direct control of.

Aliens

Antagonists from other planets. They may be hyper-advanced technologically like the grays or deadly killing machines like the xenomorphs. They are biologically different from life on our world and we may not be able to communicate with them. They may be here by mistake and need help, or be here intentionally for nefarious means.

Giants

Abnormally large creatures. They are mundane or mythical antagonists whose primary threat is overwhelming size and strength. They may be the result of science or magic. They may be simple creatures that rely on the same reflexive behavior as their smaller kin, like bugs or animals. Or they may be intelligent creatures, able to strategize, like apes or trolls.

Affected

Non-human antagonists that have been influenced by some substance, illness, or outside influence. They will be more violent and dangerous than they would be otherwise. They may be infectious, venomous, or otherwise altered to be more dangerous. This can also include plants that have become ambulatory and predatory.

Cryptids

Strange creatures, things almost no one has ever seen, things we would call monsters. They may be sentient or beasts, They may be hiding in plain sight, or native to very remote locations. Cryptids are rare, unstudied, and mysterious. They usually have exceptional or supernatural abilities that make them hard to find and document. They can be malicious, or misunderstood, but they are always dangerous in some way.

Swarms

Even the smallest creatures can become dangerous in large numbers. Swarms are all consuming antagonists, able to fit through tight spaces, and only vulnerable to area of effect attacks, making them potentially very hard to deal with. They may be naturally occurring or assembled and controlled by some entity.

Constructs

Artificially created antagonists. This includes things like robots, golems, or homunculi. They may or may not be humanoid, and may be under the control of their maker, or may have free will. They may rebel against the task they were made for, or unquestioningly follow it. Those made of materials like metal or stone are often very durable and difficult to destroy with force.

Artifacts

Items that have been imbued with unnatural properties by something. They often have negative cognitive and/or physical effects on people. They may be a single item or a group of items. They may otherwise be a mundane item, or may possess some sort of innate goal, consciousness, or the ability to move on their own.

Haunts

Places that have become antagonists themselves. Able to lure people within, manipulate them with paranormal effects, and change the architecture or structure within. They may be possessed by another antagonist, or may be a result of science, nature, or magic. They may consume biomass, energy, or souls, and can have a number of different reasons to do so.

Elementals

Antagonists composed of, and able to control, one of the fundamental natural forces of reality. This may be the classic western quartet, the asian wuxing, or a modern understanding of the periodic table. You can mix and match them to find the system that works for the setting. They may act out for their own inscrutable reasons or may be controlled by another party. They usually can’t be destroyed, but rather must be appeased or banished in some way.

Fae

Entities that embody chaos. Fae creatures are beings from folk and fairy tales, who come from a world connected to ours, but which follows different laws of reality. Fae trick and manipulate people to their own selfish ends, usually at the price of a terrible fate for the human in question. They often delight in games and mischief, and can possess the power to influence reality, usually through methods that have eccentric requirements.

Outsiders

Cosmic horrors and beings from beyond our comprehension. This includes Voidspawn, Old Ones, and other eldritch entities, whose very existence is antithetical to beings from our reality. Being exposed to these entities is often disastrous for the individual and results in madness. These sorts of entities must usually be contained rather than being able to be destroyed.

Animistics

These antagonists are personifications of abstract concepts such as war, death, or time. These entities are often limited in their capacity to understand things outside of their purview and seldom have cognitive patterns similar to humans, making them often difficult to understand and relate to. Their goals are enigmatic and will be directly related to their purview.

Remnants

These antagonists are the components of a person which are left behind after death. They may be silent wrathful disembodied rage, such as a poltergeist. Or they may be the near human ghost of a person. They are usually immune to any sort of physical attack and often need to have their unfinished business from life resolved to free or banish them.

Theistics

Abyssal and celestial antagonists, pulled from the various religious beliefs and mythologies of our world. They may be scripturally accurate, or a modern reimagining of creatures loosely inspired by scripture.

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