I freaking love Star Wars!

I don’t have any true insights to share right now. But it’s May 4th and I’ve got plenty of Star Wars art on the tumblr pages I am watching for classic pulp fantasy and sci-fi art and it got me all hyped up again. And as any semi-regular readers will know, I just love Star Wars to no end. It’s pulp entertainment at its very finest. The old trilogy manages just the perfect blend of a completely outrageous and preposterous world and plot and taking itself still completely serious without making jokes about itself. (It’s the moment when the new movies try to crack a joke that they are at their lowest.) It’s far from infantile nonsense, but instead I see it as a story that is all about emotion, with the plot being a rather secondary thing. It doesn’t make much sense, and often it’s outright silly. But it’s silly only on a rational level, when you try to explain things logically. When looked at as a story that does not work by logic but by emotion, it works perfectly.

I remember quite well when I saw Star Wars for the first time. I was 10 when we moved to another city and a few months later I went to visit one of my old friends for a weekend. My dad dropped me off at the train station where my friends mom picked me up, but before we went to his home, my friend first had to get a new toy from the store next to the train station. And it was a Star Wars toy, which didn’t mean anything to me at that point. So once we got home, he showed me all his other Star Wars stuff and it all looked and sounded really fascinating, completely different from anything I’d seen before. It wasn’t anywhere like Star Trek at all. So we got permission to watch Star Wars on video on a tiny TV in his room later that evening. That stuff was totally amazing. And the next day we also watched The Empire Strikes Back and Return of the Jedi. Best weekend of my life! Fortunately, it was 1995 and in 1997 the special edition was rereleased first in theatres and then on video. And of course I got my parents and my brother to go see them and we got them on video for christmass that year. And I’ve stayed with Star Wars ever since. Watched the movies dozens of times, and played X-Wing and Tie Fighter on our first computer to complete exhaustion. My brother and I probably read all the novels that existed at the time, we played Jedi Knight, and Knights of the Old Republic, and my brother got a small stack of comics. And lot’s of posters. Actually I have to admit I don’t care for the new movies at all. I might not even go to see them on release, but unless the reviews are disastrous I’ll probably get around to watch them on DVD some day. Call me old, but I grew up on the stuff that was made in the 90s and early 2000s and that’s the only true way Star Wars is done for me. There are still gems of course. The Knights of the Old Republic comics are amazing and I even love playing The Force Unleashed, even though the story is one of the dumbest things ever written for Star Wars this side of Dark Empire. But even if I don’t really care for most of the things released in the last 10 years, I still love Star Wars and probably always.

I freaking love this stuff!

So here have probably the best movie scene of all time:

https://www.youtube.com/watch?v=C-DeI3ohVbY

This is just the greatest stuff ever made. Sorry, Mass Effect, Ghost in the Shell, Dark Sun, and The Witcher. Star Wars is still so much more awesome.

Campaign Setting Worldbuilding: Kings and other major NPCs

One very common approach to creating campaign settings for a roleplaying game is to start with a map, define the countries, place major cities, and then create all the kings, other rulers, and any other big names of global/regional importance. It’s something people do without really thinking about it, because that’s how everyone is doing it. Which is good enough for quick ad dirty, single use and then throw away settings, but when making a setting for a longer campaign and possibly even beyond that, it’s a rather poor approach to the work. To make a good setting one does not just have to know what to do, but why it is done and for what purpose.

Whenever the question is raised “Why is it always done this way?” in a fantasy context, the answer is almost always “because Tolkien did it”. (If not that, then it’s because D&D did it.) But Tolkien had a good reason for it, which in most fantasy games inspired by Middle-Earth is not present. I argue that creating kings and other movers and shakers is not only irrelevant to most settings, but actually obstructive. So why did Tolkien do it? Because Middle-Earth has always been a setting that is about Kings and the conflicts and cooperations between them. That’s in The Lord of the Rings and The Silmarilion and even in The Hobbit. Bilbo Baggins might be the protagonist of that story who is going on an adventure in the Wilderness, but it is not his story and it is not really about adventures. In the end it really is all about Thorin reclaiming the rule over his families land and a lot of the problems they run into really are power struggles for control over the region and its economy. Bilbo is looking for treasure, Thorin is making a grav for power which gets him into conflict with the other regional rulers. Similarly, The Lord of the Rings has two stories; one about Frodo going to Mount Doom and the other all about the shift in political power in Middle-Earth. And that’s why so many characters are kings and princes and we get to know all the rulers while hearing almost nothing about the common people. Similarly, the Song of Ice and Fire series is a story about powerful politicians fighting for control and dominance. It’s necessary to know all the royal courts and all the kings and princes, because that’s where the action takes place and who are the main players in the story are.

But almost no campaign setting that has been created for a roleplaying game has really been intended to have the player characters as major participants in global politics. And as such players are very unlikely to ever meet anyof those people and when they do it’s usually as generic quest givers. Kings and high priests are adventure characters, not setting elements. Take a look at fiction in which the protagonists are more like typical adventurers. Conan sometimes have encounters with other kings when he rules Aqualonia, but these are created for each specific story and then again immediately discarded. And I am not even sure if there is ever any explanation how government in Lankhmar works. Because it’s irrelevant.

There are exceptions, of course. Dark Sun has the Dragon Kings who rule over the city states and we have complete lists of all the cities and all the kings, with pretty detailed descriptions. But in the world of Athas, the kings are not just rulers. They are immortal sorcerers of unimginable power and often seen as close to gods. They are indeed so powerful and reclusive that few player characters are likely to ever meet them or have any sliver of hope to survive against them in a fight. However, the kings all have their templars, who are not only administrators and police, but also priests of their kings. And players are going to run into templars and have dealings with them all the time. In this respect the kings themselves are not so much NPCs, but religions and ideologies which the templars enforce within their cities. Who exactly are the kings? GMs don’t need to know and players probably shouldn’t know. All we need to understand about them is what directions they are giving to their highest templars. In Athas, the identity of the king is the identity of the city. Take a city like Baldur’s Gate or Shadizar, and it really doesn’t matter. If there is a war, there is a war. Unless the players are playing generals, they never will really know what’s going on in the back rooms. Spending too much thought and attention on those things is generally a waste of time.

And very often useless information is not just irrelevant, but actively obstructing. Because all that stuff has to be written and later it will be read. And both writers and readers will concentrate on those elements that get the most detail. But unless the setting is meant for player characters who are kings and generals, it is something they should not concentrate on. If you set up a big sign that says “This is important!” and “This is iconic for the setting”, GMs will try to shoehorn it into their campaigns. That even happens when you create the setting to use it only yourself. But is that actually good for the players? Generally not. It often means that they are part of a story which they neither have control over, nor contribute to in a meaningful way. So I say, if it’s not the focus of the setting, leave it out.

I went through some old notes again, from all the way back four years ago, checking if there was anything I’ve forgotten about in the meantime before throwing it away. And I came upon a list and description of the twelve most important ruler for the Ancient Lands setting. Some really good ideas there, but it is meant to be a setting set in the vast wilderness for wandering warriors exploring ruins and encountering spirits. What do the great rulers of the city states have to do with that? The cities themselves are mostly meant to add flavor to descriptions of objects and people who come from there and perhaps places where the players can catch a boat. Not places to be actually visited and explored. And the way the internal politics works are even less relevant. So I specifically chose to not write any descriptions for regular rulers who are easily replaceable. The leaders of the secret societies whose agents are also digging around in old ruins in the wilderness are a different matter, but just like the kings of Athas, they are more to explain the goals and actions of their minions rather than bein meant to appear in person themselves.

I think I am done with Weird Fantasy

I discovered Lovecraft only a few years ago but found that there is a real charm to his works. And the more I read, the more I realized that it’s really not a lot like the “Cthulhu Mythos” I’ve been hearing about for several years before. All the many horrific gods and the alien races with their billion year old wars barely make any appearance in his stories. Calling it the “Cthulhu Mythos” is particularly puzzling as he appears in only one story, which I admittedly found rather lacking, and so much more talk is about Yog-Sothoth, Nyarlathotep, Shub-Niggurath, and Dagon. There are some hints here and there that strange creatures have been to Earth in the distant past, but there isn’t anything about ancient histories of cosmic wars. Turns out Lovecraft never called it Cthulhu Mythos and all the other stuff was written by other people. And I have to say I find Lovecrafts own stories to be much higher quality because they don’t explain things and leave things vague. All the systemization, cataloging, and historic recording was the work of people who wanted to expand, but in my oppinion didn’t actually get what Lovecraft had been done. Still, most of Lovecrafts own writing is quite good and I still regard those stories very highly.

Some time later I came into contact with various videogames that had some kinship with the style I appreciated in Lovecrafts stories. The Japanese Silent Hill series, and the Ukrainian Stalker and Metro games. All these works have themes of desolation and decay, with protagonists who have to deal with events and environment which they don’t understand but have to deal with alone. And one thing that is really compelling about all of them is not what they explain about the events and environment, but what they leave highly vague and ultimately unexplained. The stories themselves have some interesting ideas, but it’s really everything around the characters and the plot that’s really selling it. In the sphere of games the common term is Lore, but it’s really the same thing as worldbuilding. Perhaps even a better term as the worldbuilding is really the creative process of making the world, while the Lore is the information that actually gets presented to the audience in the finished work. They don’t care so much how it’s done, just what the final result is.

Both the Stalker and Metro games are based on Russian science fiction novels and few people would think of Silent Hill as Fantasy. It’s simply Horror. (And the most terrifyingly, pants-shitting horror I’ve ever seen anywhere.) But they still intrigued me greatly as inspirational sources for the worldbuilding on my own Ancient Lands setting. Having really gotten into fantasy both with Dungeons & Dragons, rereading The Lord of the Rings, and playing the Warcraft games, my encounters with fantasy were highly dominated by works that explain absolutely everything down to the smallest level. The more minimalistic approach of both Lovecraft and Horror games, which also have a lot of Lore but it’s much more uncertain and speculative, seemed both more entertaining and intriguing. I later encountered other Japanese fiction like Neon Genesis Evangelion and Elfen Lied (the manga, the anime sucks), which also went a similar route and did very well, at least for me.

So when I heard of fantasy roleplaying games created with the express intend to evoke the bizarre and unknowable it had my curiosity. James Raggi is the posterboy for this movement with his Lamentations of the Flame Princess game, but there are plenty of others whose creative output is just as important. Raggi made the choice to call his game Weird Fantasty Roleplaying, which all things considered seems quite accurate. I haven’t read any of the Bas-Lag books, which are probably the most popular work by which the “New Weird” is identified, but from all I’ve heard about it there seems to be a clear kinship.

And over the last two or three years, I’ve learned a huge amount of things about creating fantasy that is based on and revolves around the inexplainable and extremely lethal. I came, I saw, and I learned. But I also find it to get really tiresome and also going overboard. The Weird Fantasy roleplaying material seems too deeply focused or even obsessed with the grotesque and being outright repulsive. Mutilated corpses and baby-eating penis monsters get from being horrific to being just obnoxious very quickly. I can’t speak for the literature, but in the area of roleplaying games, the Weird seems to be taken as almost synonymous with being both random and repulsive. And that’s just not doing it for me.

When I am looking at a great mystery, I am seeing a small piece of something bigger. Potentially much bigger; who could tell where it ends? In a good mystery I learn what happened here and now, but how it is connected to all the hidden forces and powers I might never know. That’s just what Lovecraft did. But in the Weird Fantasy there often isn’t anything to know. Weird shit just happens and because the characters of the story will never know, the writer doesn’t make any effort to give some reason or purpose for it. And I think the story as a whole suffers greatly from it. In a total vacuum of information, the characters have no meaningful agency. Investigation is pointless if there isn’t anything to learn. Surviving in a situation you can’t begin to understand might be interesting and exciting at first, but ultimately it really is just pure luck and the writers whim that keeps the characters alive. They don’t really have a hand in their fate. And while that’s bad in literature, it’s just outright terrible in a roleplaying game.

I also found myself trying to make all my monsters horrifying, until I realized that I didn’t really have any idea why I would think that might be necessary or even desirable. Reading Hellboy this week, where fey spirits of Britain and Russia play a major role, I remembered that I went looking into this whole Weird Fantasy business to learn about how to make monster threatening and dangerous, and most importantly ambigous. And there just isn’t anything ambigous about a 30 meter tentacle penis with huge teeth. What I am really after with the Ancient Lands is a world in which spirits are real, potentially dangerous, but also worshipped as protectors and bringers of prosperity. What I am after is “awe”. Not terrified panic. In good fairy tales the protagonist has to get face to face with the spirits and atrempt to have a human interaction with something that deep inside is utterly inhuman. That is the fear I am after. The fear of overplaying your luck and slipping up right in front of a being of unbelievable power and primordial and unrestrained emotion. Something that is like a person, but ultimately not a person at all. Which is something none of the beings in Weird Fantasy have. They just attack as soon as they see you and turn you into screaming goo as soon as they touch you.

My time with Weird Fantasy certainly was not a wasted one. There are actually some really good ideas to how approach and structure things. But these are fine tools, which I believe are much more often misused as sledgehammers. I rather go with Hellboy.

Things I still plan to review

This list is actually getting longer instead of shorter because I constantly forget that I wanted to write reviews for these. Hopefully I get around to do them someday not too far in the future. And if you want to, you can bug me about them still being late. That usually motivates me quite a lot. ;)

  • A Princess of Mars
  • Atlantis: The Second Age
  • Barbarians of Lemuria
  • Conan (Comic)
  • Dark Sun Campaign Setting
  • Death Frost Doom
  • Demon’s Souls
  • Gargoyles
  • Heavenly Sword
  • Hellboy
  • Knights of the Old Republic (Comic)
  • Metal Gear Solid
  • Mirror’s Edge
  • No Salvation for Witches
  • Pitch Black
  • Primeval Thule
  • Red Tide
  • Riddick
  • Seirei no Moribito
  • The Savage Frontier
  • The Witcher 2
  • Thief: The Dark Project
  • Trawn Trilogy

This looks even worse that I thought. oO

Criminal Organizations in the Ancient Lands

When I started collecting lists of all the stuff from other great fantasy settings which I would like to include in my Ancient Lands world, I also made a short list of cool criminal organizations. There are some pretty cool and interesting ones out there, like the Shadow Thieves and Zhentarim, the Dark Brotherhood, Black Sun and Czerka Corporation, the Shadow Broker, and a whole lot of others. But a very important part of good worldbuilding is to keep the whole setting coherent in its premise. And now that I started to really give some thought on the criminal organizations I had floating around as broad outlines, I noticed that most of them really don’t fit this kind of setting.

The Ancient Lands are a world that is primarily wilderness, inhabited by tribal people in small villages with only a few larger cities, which are still relatively small compared to those of other fantasy worlds. Having a Gnome Mafia in such a setting doesn’t really make much sense in such a setting once you start looking a bit closer. Each clan has its own small territory and is effectively controlled by a single extended family that rules without any interference from outside forces. There usually is not even a king and certainly not any state that tells them what they can and can’t do. As long as the minor families don’t revolt, the clan leaders can do whatever they want. At the same time the clans are small enough that the leaders are personally aware of anyone who is stirring up trouble and when someone commits crimes against other people of the clan, the chief can simple have them exiled or executed and that’s the end of it. The chiefs personal croonies might be abusive bullies, but that only makes the chief a tyrant who still is officially in charge.

Which leaves the cities and major towns, but those aren’t actually that big either and there isn’t a lot of them as well. In a city of ten two twenty thousands, you can’t really be building a criminal empire without becoming one of the rulers of the city and spreading out over multiple cities is also not particularly practical. There is also the question of what criminal organizations would do. In a Sword & Sorcery setting the only purpose to smuggle anything would be to avoid taxes, but usually nobody cares what weapons, poisons, and drugs you are selling. And tax evasion isn’t really a terribly villainous crime.

But there are still plenty of people who make money with violence while not being part of the official governments.

Cartel Merchants

In most cities of the Ancient Lands, nobody cares which kind of dangerous goods you can buy at the market or in shops. However, there are some people who care a lot about who may sell which goods or not. If any kind of goods is sufficiently rare, some merchants always try to get a monopoly on them. Be it certain rare drugs, spices, poisons, gems, or other precious materials, usually there’s a small number of rich merchants who control virtually the entire trade with them and they go to very great length to protect their monopolies. These merchants are only losely organized but include those who produce, transport, and sell the goods. Anyone small stores in the cities and towns who are found to sell those goods without getting them from the big merchants who claims the local monopoly on them will quickly be visited by some of his croonies who will make sure it’s not going to happen again.

Smuggling illegal goods by the city guards isn’t really a thing in the Ancient Lands, but secretly circumventing the cartel monopolies can bring just as great profits. However, the price for getting caught is usually much higher as well.

hyboria_hyrkaniansOutlaws

In a tribal society outlaws are not simply people who break the law, but those who have been exiled for whatever reason and cast out whithout the protection of any clan or city. In a world with no courts and no police outside the cities (and even there they are mostly confined to the richest neighbourhoods), the only thing that protects you is the certainty that someone will avenge any crime commited against you. Without a clan to back you up, you’re fate depends entirely on your skill with your weapon. At the same time, nobody can be held responsible for your actions if you commit any crime or cause any damage and you don’t have to worry that anyone else is going to suffer for your offenses. So even people who don’t want to rob or murder you still won’t trust you because there isn’t any reassurance that you will behave. There are really only two possible lives for outlaws, which are becoming a hermit in a place where nobody will find you, or becoming a bandit.

Occasionally warriors down on their luck will try to ambush travelers on the road for a bit of money and food, but outlaw bandits are a whole different class of criminals. These men and women often band together for mutual protection against anyone who might want to rob or enslave them and while many of them have been exiled for some crime commited against their clans, an equally large number were born into these gangs. Even if they have not commited any crimes themselves, nobody believe that these outlaw children could be trusted to be honest and behave either. With almost no other clans or merchants willing to trade with them, bands of outlaws often survive by robbing travelers and caravans on the few roads that cross the vast stretches of uninhabited wilderness of the Ancient Lands. Most of them have their own hidden villages somewhere in the wild, where they keep their loot and their families and slave grow some meager crops and keep a few goats and pigs. Not all outlaw bands are necessarily evil or murderous, but they all know that everyone fears and mistrusts them and don’t take kindly to most strangers. Other outlaws might find a home among them, but all bandits know that they can’t trust anyone, especially each other.

koxinga2Pirates

Pirates are very similar to the outlaw highwaymen that ambush caravans on the roads, but their territory is the sea and the major rivers of the Ancient Lands. Not all pirates are outlaws and many crews are simply warriors of poor clans that are unable to support themselves with whatever resources their homes offer. Coastal and river pirates often make their own small boats which they use to board merchant ships, while sea pirates mostly use ships they have captured from Keyren, Takari, and Mayaka traders. River and coastal pirates defend their territory against competitors as fiercely as highwaymen, but the sea pirates often roam very large stretches of sea for many months and generally avoid fighting with each other. There are several known pirate ports in the islands of Suvanea in the Inner Sea and the outlying islands of Halond to the north, where pirate ships make stops to make repairs, take supplies, and also trade the treasures they captured.

Fences

Both highwaymen and pirates keep a good part of their spoils to bring back home and share with their families, but usually a large amount of the booty consists of things that have relatively little practical value to them. Since they can’t really visit the great markets in the cities and towns without raising questions, they need the help of merchants who don’t have any reservations about trading with thieves and murderers. As the pirates and bandits don’t have a lot of choice where to sell their loot, these goods are often traded well below their actual value, resulting in a huge profit for the merchants. Very often these fences are the same merchants who also control the monopolies on certain goods.

Street Gangs

In the cities and larger towns there are also always some minor criminals who make a living by stealing and robbing people in the streets at night. There is rarely more than a few dozen of them in any place except for the very largest of cities, but often they band together in groups of just a small handful of thieves who each carve out their own territories and drive out any other thieves that might try to compete with them. Too many thieves in any area only make the guards patrol more frequently and keeps rich people off the streets at night, so that’s bad for business. Larger gangs might be able to extort some money from small merchants in the poorer parts of town and in some cities where the guard has no real presence outside the rich neighborhoods they effectively rule the streets themselves. When they get powerful enough it often gets more profitable for them to stop robbing people at night entirely and instead collect a fee from the residents for their service of keeping the streets clear of other gangs or drunk sailors. Such neighborhoods are often actually safer than those which are patrolled by the guards, but only as long as one is paying the local gangs their share. There are rarely more than two or three such large gangs in any major cities, and usually only one in smaller towns. Two gangs in the same town usually don’t last very long.

Worldbuilding and creating non-villain organizations

When creating a larger world for stories that not only focus on the protagonists and antagonists themselves but also deal with the way those protagonists interact with the world around, one very important aspect are usually the major power groups who are involved in the various great conflicts that are shaping the setting. Similar to how it is quite easy to make an interesting villain, it’s usually not very difficult to come up with dozens of factions that have some nefarious goals. There are plenty of examples in fiction from political conspiracies, demonic cults, criminal organizations, societies of sorcerers, megacorporations, legions of hell, the loyal warriors of a charismatic warlord, and so on and on and on. Creating bad guy groups is easy.

However, when it comes to creating the good guys of a new setting, things very quickly get much more difficult. One big reason for that is that heroes and heroic organizations are stepping on each others toes. If the hero starts out as a small guy who doesn’t know about the big threat of the story when it begins, but the organization is well informed and equipped, what do they need the hero for? They should be able to deal with the problem themselves. On the other hand, if the hero himself is really powerful and capable, then what are the members of the organization to do? Cheer while the hero does his hero thing? In either case, the hero and the heroic organization don’t really need each other. The only way to avoid that is to have the protagonist already be a long time member of the heroic organization and be the best guy they have. Someone like Buffy, Hellboy, or the Master Chief. That can work quite well for books and movies, but for a roleplaying game campaign setting you usually want to have a variety of such groups the heroes can encounter during their adventures and have dealings with.

When it comes to looking at precedents from fiction that could be used as templates for a heroic organization, there isn’t a lot to find either. Usually what you get are either Paladins, Rangers, or the Old Men Council. Paladin type organizations are elite groups of warriors who fight evil in the open and destroy it. Jedi, the Knights of the Round Table, Specters, or the Grey Wardens are example of that. Ranger type organizations are also elite warriors and other agents who sneak around in the shadows gathering intelligence and sabotaging the enemies efforts to provide the forces of Good with information and time to organize a defense against that threat. There’s of course the Dunedain from The Lord of the Rings, but also the Harpers from the Forgotten Realms, or Foxhound from Metal Gear Solid. And of course the Old Men Councils, which quite often are actually Old Women Councils in recent decades. Organizations, often quite ancient, consisting of wealthy philantropist or wizards who manipulate things from the behind the scenes to further the good of all humankind. Only the Old Men Council really has any need for outside help as they usually rely on freelance contractors to do all their dirty work, but that usually ends with the protagonist being a puppet in their plans which doesn’t really need to understand their greater plans. There are also Rebells, but they usually have a single goal which makes them too narrow to be interesting in worldbuilding unless the whole setting is about that rebellion. These rganizations can be employers, but rarely make for good allies. And almost always they mainly exist to deal with one very specific villain organization, which limits their possible uses for other storylines. With a single book or movie, or even three or four, that’s not necessarily a problem, but when you want to create a larger universe for multiple storylines, it’s not really a good solution. As much as I like Star Wars, always having the Jedi fighting the Sith gets stale eventually. Both groups need more goals and ideals than to just oppose each other.

My advice to creating organizations to oppose the villain factions is not to attempt to make Good organizations, but simply non-Evil organizations. It’s terribly difficult to create a well though out God faction, and most of the times they do appear, it eventually turns out that they have not been everything they claimed to be after all. Best case scenario is that they are well meaning, but actually misguided and the protagonist only works with them because he really needs their resources. “I’m not doing it for you, but for the people out there who need my help!” Because most writers understand that truly pure goody-two-shoes groups are boring and often annoying.

When you try to think of truly Good organizations from world history that didn’t do anything shady and cruel, you usually only end up with pacifist groups like the Red Cross or other charities. And unfortunately for fiction writers, especially fantasy and sci-fi, pacifist charities usually don’t pick up arms in battle against evil. Great as they might be, they are not really helping here as examples for Good organizations in adventure fiction.

So I say: Don’t try. What you need is not organizations that do hero work (which they always would do much better then the heroes), but organizations whose goals are serving their own interest, while following ideals that oppose the methods of real villains. Make groups that don’t want to fight Evil everywher all the time, but groups whose goals frequently line up with those of heroic protagonists. We’ve all seen evil Megacorporations a thousand times, who exploit the poor and destroy the environment for profit and sell all kinds of horrible inventions to the highest bidder. But big businesses don’t all have to be Umbrella or Wayland-Yutani. Take for example a big corporation that is heavily investing in colonizing different worlds because they want to get a foothold in alien markets. Their goal is still profit, but their strategy is to build stable local economies and create goodwill with the regional alien governments and companies. They would have a genuine interest to hire mercenaries or cooperate with groups that are already trying to fight pirates, slavers, and hordes of alien locust. They want the region to be safe and their employees to be happy. Not just out of charity, but because that’s also part of their business. Or a group that sponsors expeditions to ancient ruins for the search for old technology or magic. Not to protect the world from the possible dangers if they fall into the wrong hands, but to study them and improve their own creations. They might be quite willing to cooperate with the heroes in finding a certain dangerous artifact, if in turn they get to salvage all the other stuff they might find in that place.

Just like there are no organizations in the real world that want to do Evil, there are relatively few that exist simply to do Good, on the great global stage. (Of course there are plenty of charities, but how often do you see any of those mentioned in history books other than the Red Cross?) They all have much more complex goals and causes they are pursuing. So instead ask yourself, what kinds of groups would benefit from cooperating with heroes in this fictional universe. I think this always gets much more interesting results. It won’t work for any nonsensical Hollywood/America saves the world plot where the hero blows up Nazi aliens, but you might notice that those are usually one-shot movies anyway, because the premise is so weak that there isn’t really any worldbuilding for the greater world beyond the hero at all.