drew/fabula-ultima-html
1
0
Fork 0
Code Issues Pull Requests Actions Packages Projects Releases Wiki Activity

chore: Format HTML in books/core

Browse Source
This commit is contained in:
Drew Malzahn
2026-06-06 23:44:01 +00:00
parent 6a7e988ca0
commit 88a2778e6f
364 changed files with 47378 additions and 22433 deletions
Download Patch File Download Diff File Expand all files Collapse all files

73
books/core/257.html
View File

@@ -1,20 +1,65 @@
<link rel="stylesheet" href="/css/book-page.css">
<link rel="stylesheet" href="/css/book-page.css">
<link rel="stylesheet" href="/css/book-page.css" />
<link rel="stylesheet" href="/css/book-page.css" />
<h2>CHAPTER CONFLICT ABILITIES</h2>
<p>When you create an antagonist, consider how they will behave during conflicts.</p>
<p>
When you create an antagonist, consider how they will behave during conflicts.
</p>
<ul>
<li>Each Villain has one or more preferred conflict types: some might favor social occasions; others may prefer to engage the heroes in battle. The most obnoxious antagonists are the ones that avoid conflict scenes at all costs — but even then, Ultima Points aren't an infinite resource.</li>
<li>To properly challenge the heroes, Villains should be elites or champions (see page 295) or be accompanied by some allies: this is to ensure they can perform multiple actions during each conflict round.</li>
<li>Because of their importance, a battle against a Villain should be treated as a <strong>boss fight</strong> (see page 300 for details on how to design one).</li>
<li>
Each Villain has one or more preferred conflict types: some might favor
social occasions; others may prefer to engage the heroes in battle. The most
obnoxious antagonists are the ones that avoid conflict scenes at all costs —
but even then, Ultima Points aren't an infinite resource.
</li>
<li>
To properly challenge the heroes, Villains should be elites or champions
(see page 295) or be accompanied by some allies: this is to ensure they can
perform multiple actions during each conflict round.
</li>
<li>
Because of their importance, a battle against a Villain should be treated as
a <strong>boss fight</strong> (see page 300 for details on how to design
one).
</li>
</ul>
<p>Powerful antagonists might also be protected by a “plot armor” that prevents Player Characters from fighting them unless they have a specific item, spell, or other assets at their disposal. Generally you don’t want to overdo this — one or two such “tricks” over the course of the entire campaign are more than enough.</p>
<p>
Powerful antagonists might also be protected by a “plot armor” that prevents
Player Characters from fighting them unless they have a specific item, spell,
or other assets at their disposal. Generally you don’t want to overdo this —
one or two such “tricks” over the course of the entire campaign are more than
enough.
</p>
<h2>AND FINALLY, A DRAMATIC ENTRANCE</h2>
<p>A Villain’s entrance should be an intense moment that sets the tone for their role in the story. Think of it as a video game cutscene: you get a few seconds to show your audience what this Villain looks like and hint at the kind of forces and weapons at their disposal — soldiers, forgotten technology, powerful magic, or a healthy dose of supernatural strength.</p>
<p>During your preparation stage before a session, it may be helpful to focus on the reveals key moments — you have to condense everything important in a couple of sentences. It should be something like this:</p>
<p>Approaching with heavy footfalls, the figure rests a hand on a sword the likes of which you’ve never seen... a delicate gesture, but her grip is steady.</p>
<p>“It appears we are here for the same reason,” she says. “Unfortunately, I cannot let you have that which I need. Stand back, and no one shall be injured.”</p>
<p>With a few words, you have communicated that this is likely a proud and honorable adversary who is also very determined. That sword of hers? That’s bad news!</p>
<p>
A Villain’s entrance should be an intense moment that sets the tone for their
role in the story. Think of it as a video game cutscene: you get a few seconds
to show your audience what this Villain looks like and hint at the kind of
forces and weapons at their disposal — soldiers, forgotten technology,
powerful magic, or a healthy dose of supernatural strength.
</p>
<p>
During your preparation stage before a session, it may be helpful to focus on
the reveals key moments — you have to condense everything important in a
couple of sentences. It should be something like this:
</p>
<p>
Approaching with heavy footfalls, the figure rests a hand on a sword the likes
of which you’ve never seen... a delicate gesture, but her grip is steady.
</p>
<p>
“It appears we are here for the same reason,” she says. “Unfortunately, I
cannot let you have that which I need. Stand back, and no one shall be
injured.”
</p>
<p>
With a few words, you have communicated that this is likely a proud and
honorable adversary who is also very determined. That sword of hers? That’s
bad news!
</p>
<p>"When you chose to fight not to protect your people, but to prove them wrong... that is what made you a villain."</p>
<cite>— Philip Forlenza (Order #)</cite>
<p>
"When you chose to fight not to protect your people, but to prove them
wrong... that is what made you a villain."
</p>
<cite>— Philip Forlenza (Order #)</cite>