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Adventure Structure

Alacrity Fantasy, A TTRPG by Adam J.. McKee and James G. Walker, Jr.

You have the core elements of a great adventure in mind – a hook, a goal, stakes, opposition, locations, NPCs, and opportunities for player choice. Now, how do you arrange these elements into a playable sequence? The Adventure Structure is the framework or organizational pattern you use to connect these components, guiding the flow of gameplay from the initial hook to the final resolution.

Choosing an appropriate structure is vital for managing preparation, pacing the session, ensuring logical progression, and balancing player agency with narrative direction. Different structures lend themselves better to different types of adventures and play styles. Alacrity’s flexible system can accommodate various structures, but understanding their strengths and weaknesses helps you select or adapt the best framework for the story you want to tell.

This section explores common adventure structures, discusses their characteristics, and provides guidance on designing the flow between scenes within your chosen framework, all while keeping player agency and Alacrity’s core principles in mind.

Common Adventure Structures: Frameworks for Story

Think of these structures not as rigid blueprints but as common organizational patterns. Many adventures blend elements from multiple structures.

1. Linear Structure (The “Railroad”)

This is the simplest structure, presenting a predetermined sequence of scenes or encounters that players progress through in a fixed order. Event A leads to Location B, which contains Challenge C, leading to Climax D.

2. Branching Path Structure

This structure presents players with choices at key decision points, leading them down different paths or sequences of events toward the ultimate goal. Path A might lead to Location X and Challenge Y, while Path B leads to Location Z and Challenge W, both eventually converging back towards the climax or offering different routes to it.

3. Site-Based Structure (Location Crawl)

This structure focuses on a specific, self-contained location filled with interconnected rooms, areas, encounters, and points of interest. Classic examples include dungeons, haunted castles, ruined cities, large space stations, or even dense wilderness areas like a specific swamp or forest mapped in detail. Players are free to explore the location in any order they choose, dealing with challenges and making discoveries as they go.

4. Event-Based Structure (Timeline / Scenario)

This structure is organized around a timeline of events that will occur regardless of the players’ specific location, unless they actively intervene. The focus is on reacting to unfolding situations and trying to influence outcomes before certain deadlines pass.

5. Goal-Oriented Structure (Pointcrawl / Node-Based Design)

This structure defines the key components needed to achieve the adventure’s goal – specific locations to visit, NPCs to contact, clues to find, or objects to acquire – but leaves the order and method of interacting with these “nodes” largely up to the players. The GM knows what needs to happen (e.g., find the map, talk to the hermit, retrieve the key, enter the tomb), but not necessarily how or in what sequence the players will accomplish this.

GM Note: Using a “Story Web” Structure

The “Goal-Oriented (Pointcrawl / Node-Based)” structure described earlier is often referred to as a “Story Web.” Thinking of your adventure this way can be a powerful tool for creating dynamic, player-driven scenarios that feel less linear and more responsive.

What is a Story Web?

Imagine your adventure’s key components – important locations, crucial NPCs, vital clues, necessary objects, specific events – as nodes on a piece of paper. Then, draw lines connecting these nodes to represent how players might move between them or how information links them together. This network of interconnected points forms your story web.

  • Nodes: Each node represents a distinct element the players can potentially interact with (e.g., “The Ruined Watchtower,” “Grelka the Informant,” “The Missing Journal Page,” “The Smuggler’s Cave,” “The Ambush Site”).
  • Connections: The lines represent potential paths or discoveries. Finding the journal page (Node A) might provide clues leading to the Smuggler’s Cave (Node B). Talking to Grelka (Node C) might reveal the location of the Ruined Watchtower (Node D). Traveling between the Watchtower and the Cave might risk the Ambush Site (Node E).

Benefits of the Story Web:

  • High Player Agency: Players decide which leads (connections) to follow and in what order they approach the nodes. They navigate the web based on their choices and discoveries.
  • Flexibility for the GM: You prepare the individual nodes (the content at each location or with each NPC) but don’t need to script the exact sequence players will follow. This makes improvisation easier, as you react to how they navigate the web.
  • Organic Storytelling: The narrative unfolds based on the path the players take through the web, making the story feel like a result of their actions.

Designing a Story Web:

  1. Identify the Goal: What must the players ultimately achieve?
  2. Define Key Nodes: What locations, NPCs, items, or pieces of information are essential to reaching that goal?
  3. Establish Connections: How can players learn about or travel between these nodes? Place clues within nodes that point to other relevant nodes. Consider multiple paths or ways to discover connections (the “Three Clue Rule” is useful here).
  4. Add Complications: Include optional nodes representing dangers, side quests, red herrings, or helpful resources that players might encounter while moving through the web.
  5. Stay Flexible: Be prepared for players to find unexpected connections or try to bypass nodes entirely using clever skill use or Effects.

The story web approach works exceptionally well with Alacrity’s emphasis on player skill use and GM judgment, allowing players to navigate challenges using Investigation, Navigation, Persuasion, Stealth, or Combat as they weave their own path through the adventure’s interconnected elements.

Blending Structures

Often, the best approach is to combine structures. A regional campaign might use a Pointcrawl structure for travel between major locations, but zoom into a Site-Based structure when the party explores a specific dungeon, and incorporate Event-Based elements (like a progressing war or plague) happening in the background or Triggered Events based on player actions. A primarily Linear adventure might include a Branching Path section offering a choice of routes through a dangerous forest. Be flexible and choose the structure(s) that best serve the specific needs of each part of your adventure.

Designing the Flow: Connecting the Scenes

Regardless of the overarching structure, you need to consider how the adventure flows from one scene or challenge to the next.

Flexibility and Adaptation: The GM’s Role

No adventure structure should be a rigid prison. The GM’s most important role is to adapt the planned structure to the reality of play.

The structure is a tool to help you organize the adventure; it should serve the story and the fun at the table, not constrain them.

Choosing the Right Structure

Consider these factors when selecting a structure for your adventure:

Conclusion: Building the Narrative Path

Adventure structure provides the narrative path that connects the hook to the resolution. By choosing an appropriate framework – whether linear, branching, site-based, event-based, goal-oriented, or a hybrid – you create a coherent flow for your adventure. Designing effective transitions, managing pacing, ensuring information flows to the players, and crucially, remaining flexible to adapt to player choices are key to making any structure work well. Use structure as a powerful tool to organize your ideas and guide gameplay, but always prioritize creating an engaging, interactive, and memorable experience within the dynamic world of your Alacrity campaign.

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File Created: 05/07/2025
Last Modified: 05/07/2025