Now Playing: Mythic GM Emulator

For those game sessions where you don't have anything prepared, or don't have any volunteers for running the game, you might find need of something like the Mythic GM Emulator.

I've tried it out a couple of times, and it is included in my binder full of random tables for improvisational game mastery. At its core, Mythic is a decision-making system that takes over the job of adjudicating your tabletop game. Think of it like a more advanced version of the old magic eight ball toy, answering any yes or no question you might pose. It also provides ways to generate keywords that can inspire an infinite number of random encounters. 

Finally, it structures the game in a way that makes the master-less adventure flow smoothly. By breaking your game into a scene to scene structure and assigning each scene a "Chaos Level," the system allows you to play out a series of engagements that tend to escalate in difficulty. Chaos levels increase the likelihood that your questions will be met with answers of 'yes.' Since those are typically questions like "Is there a booby trap in this room?" or "Is the duke angry with us?" you can see how things can get very interesting very quickly.

Overall, it is a fun and unique tool that I would recommend to any game master for their own toolbox. It can be used in conjunction with any system (Though it works best with simple systems that are less combat-oriented), and could also be used as a tool to help aid a game master with decision-making and inspiration in general. Check it out now on DrivethruRPG.

Happy ventures!

Big Book of Random Tables

One of the more useful tools in my DM toolbox is my three ring binder full of random tables and adventure hooks. You never know when your original gaming plans will fall through and require you to improvise, or when you just don't have time to prepare for this week's session. That's when it's a good idea to have a lot of material for generating a super-cool adventure on the fly. I even find ways to use it when running pre-planned adventures, implementing details from character creation tables and random encounter generators.

This binder contains whatever useful tools and resources I can find, and I will share a detailed list of my sources for these in a future entry. When you are making your own Book of Adventures, there might be certain random tables that you have built yourself. Make it unique to your own game mastering style!

Here is a general list of the materials included in my own book:

• The Mythic GM Emulator (Great for improvisational or GMless games, I will review this in a future entry)
• Random encounter generators for various settings.
• NPC trait and appearance generators (Can double as character creation tools for player characters)
• Lore Sheets for various campaign settings.
• The Big List of RPG Plots (And various other plot hook lists)
• Lists of NPC names for various settings.
• Other random tables ranging from tavern menus to alien creature creators to descriptions for scenery and character attitudes!

Consider what kind of info or inspiration you might find useful to have on hand during your next game session. Think of what might inspire you and help you overcome the dreaded writer's block. A book like this one could very well save your next game, or give you a starting point for a brand new adventure!

Happy ventures!

Encouraging Risky Business

Nobody ever became an action hero by playing it safe. If you wanted to tell stories about people staying home, filing taxes, or doing their homework, you don't need any game engine or simulation. Tabletop RPGs are about excitement, adventure, and dynamic storytelling. So the last thing you want is a group of players who are timid and overly cautious about their character actions. You want them to feel compelled by the drama of the game, but not paralyzed with fear.

If your players are too nervous about a trap in the next room, they may linger outside it for far too long trying to find a way around it. If they feel like taking action against a planetary governor will get them into too much hot water, they may not even follow that plot hook. You need to encourage them to feel comfortable taking chances in order to get the most entertainment out of the chosen adventure path.

The method for accomplishing this is two-fold: The old carrot-and-stick approach.

The Carrot is the promise of reward that will drive the players to take more chances. Whether it is loot, character advancement, or the promise of plot-specific rewards like promotions or new allies. It's important for the players to feel that taking chances will pay off in the end, so they will continue to follow the adventurous opportunities that you place before them.

The Stick is the threat of danger posed to the players, but not in a vindictive manner. Instead of threatening to hurt the PCs if they fail to act, I prefer to establish a different kind of conceit... bad things will happen no matter what. Enemies will strike against them, treasures will be lost, NPCs will be endangered... these are all events that may happen in the story no matter what. The key is to show how fighting against these threats and taking decisive action can mitigate their effects. So when your players fail to investigate the ninja monastery, they will surely be ambushed by ninjas when they least expect it. Next time they know better, and will take action before the problem gets out of hand. Better to take on the challenge on their own terms than let themselves be blindsided like that again!

By establishing that bad things happen no matter what, you should remove the overwhelming fear of consequences from the players' thought process. They should be focused less on what is dangerous, and more on what is a compelling course of action.

Of course players should make their decisions based on logical reasoning. Reckless and chaotic gameplay provides diminishing returns in terms of entertainment. But as the game runner, you want them to be willing to face threats and embrace high-risk high-reward actions in order to keep things exciting. So you show them that danger is inevitable and bold action reaps great benefits! By combining these two concepts you will create a much faster-paced and enthralling environment for your players. Put them to use and enjoy the adventures unfolding before you!

Happy ventures!

Actions and Opportunities

"Well," The stealthy spy on my team shrugged, "Looks like I'll be sitting this one out." Facing down a pack of ravenous monsters on the bed of a moving truck, it certainly didn't seem like circumstances in which a sneaky-type character would come in handy. But moments later that same player discovered a pheromone attractant that could lure and incite the monsters upon activation. Soon they were throwing canisters of monster bait at any other enemy types who tried to strike at them.

The lesson I would like to be taken away from this is that there are two different kinds of action that a player character has available to take in any scene. These actions are character specific and context specific.

A character specific action would be any move that is suggested by the character being played. It could be a basic move, that is available to any player character, like attacking or opening a door. Or it could be something from their character sheet, something their class is specialized for. Like the spy picking a lock, or a wizard casting a spell.

But not every scene has an obvious opportunity for every character class. Sometimes the party diplomat can't talk their way out of a fight, or the barbarian can't fight his way out of a royal dance. In these cases, players might get frustrated because they feel disengaged or uninvolved with the action.

That's when it becomes important to offer them alternatives that will make them a part of the encounter. The first kind of opportunity you can offer is one that exploits their secondary role. What else is the character adequately skilled at? It might not be their primary specialization, but if they have at least moderate ability in a particular area, they can bring that skill to bear in the encounter.

The other thing you can do is offer context specific actions. These are opportunities that are created by the circumstances of the encounter. They come from the environment, the enemies, and the particular situation  the players find themselves in. Some of these actions might not even require a die roll, but they give players an active way to contribute rather than sitting and twiddling their thumbs.

The canisters of monster attractant are an example of how to create a context specific action. By throwing or breaking these canisters, a character can influence the actions of the monsters in this particular encounter. This tool may not help them outside of this encounter, but for the purposes of this scene it introduces a new way for a player to get involved. Other examples include:

• A control panel that moves a giant crane across the map.
• Frightened bystanders that could be easily convinced to join a fight.
• A key that stops a trap once it is placed into a lock.
• A puzzle that any player may solve to break a spell.
• A spotlight that illuminates targets for airstrikes.

Any number of options are available! The point is, these are actions that could be fulfilled by just about anybody. They require easy die rolls, or no rolls at all. They are simple actions that can have significant overall effect on the circumstances of the encounter. These catch-all opportunities ensure you don't leave any players with nothing to do in a scene. If you ever notice a player contributing very little, you might be able to devise such an opportunity on the fly. Encourage your players to keep an eye out themselves, they might suggest an idea you hadn't even considered initially. If they can't solve a problem head on, they might need to think creatively, considering a new and inventive approach.

Keeping everybody involved in the game is important, and while it may not be possible one hundred percent of the time, a combination of character specific and context specific opportunities are a sure way to maximize your players participation in an adventure.

Happy ventures!

Recurring NPCs

Some recurring characters blasting off yet again

If you have a really neat and well-developed non-player character as part of your ongoing tabletop campaign, chances are you will want to keep them around for future encounters. As a DM, this can become quite a feat to pull off, especially when the players hold so much influence on an NPCs ultimate fate. Here are a few things to keep in mind when running a game with characters who will be recurring as part of a regular cast in your games.

First, let your players decide which NPCs should hang around in future sessions. Watch their reactions, and see which characters they respond to the most. Your best NPCs should fall into two categories: those your players love, and those your players love to hate. If your players find a character boring or just distasteful, don't cling to that NPC just because they are your favorite. Move them away from the spotlight and bring in the characters that your players prefer. Bring in allies that they cheer for and villains who they truly desire to bring down.

Speaking of villains, there is a time-tested problem that you will need to address at some point with any good major villain... how to keep them around for more than one encounter. If you stat it, your players will kill it, so how do you keep a bad guy from being taken out in their first engagement with the heroes? One way is to not have them directly encounter the heroes at all until their first and final confrontation. A villain who pulls strings and taunts the hero from a hidden lair can be a fun antagonist, even if they aren't personally engaging the party. Have them establish themselves through machinations and schemes rather than combat, leading to the ultimate showdown with the players.

You can also build safeguards into each encounter, multiple means by which the villain can escape and elude the heroes in the eleventh hour. But don't make it entirely impossible for the players to catch their foe. Always leave a bit of leeway, and plan for a scenario where the players might succeed overwhelmingly. If you rig the game, it takes away the organic progression that is a touchstone of tabletop RPGs. You are free to stack the odds in favor of your baddie's escape, but be prepared for the small chance of his failure. If anything is a foregone conclusion, it's naturally not as fun to experience and discover through gameplay.

Jetpacks, trapdoors, teleporters.. main villains need an exit strategy.

This rule can be applied to allied NPCs too... never put an NPC in harm's way without a plan for what happens if they fall to that harm.  If you want to keep any character safe, keep them out of combat or give them gimmicks to escape and run away. Don't make them invincible or impervious to danger. It's cheating and makes the players feel inferior by comparison. If they are in a combat that has no bearing on the adventure, you might handwave it away, but if they fight directly alongside the PCs they shouldn't have special advantages over the players.

Bring back popular characters and don't force your own preferences on the group and you will have a cast that your players truly connect with. Find ways to weave the characters in and out of the narrative, and let your players offer their own suggestions on how to do this as well. If your players want to return to a particular blacksmith they met previously, all the better! You are surely doing something right. At the same time, be prepared to make changes to your cast of NPCs based on player input and the natural progression of the game. The same old faces can get stale after a while, so always be ready to change things up and add some fresh new characters to your gaming world!

Happy ventures!

Using Random Tables and Generators

Via Rich Burlew, Giant in the Playground

Random tables (charts that associate dice roll values with specific concepts) are a great way to add a layer of unpredictablity to your game. When they are implemented in the right way, that is. If overused, or included without a strong purpose, they can also make things very boring. The art of rolling on random tables is based around knowing why you are using one in the first place.

Background Details

One of the simplest reasons for using a random table is for when you need to decide on a superficial characteristic that won't have a strong impact on the game itself. Things that are relatively innocuous but still add to the immersive fun of the game world, like the appearance of an NPC or the name of a local shop. Random tables can help you save a lot of muss and fuss by preventing you from having to wrack your mind for specific details when they aren't so important. You can find a lot of digital random generators of this kind on this very cool web site.

Random Encounters

Random encounter tables also have their uses, but are the most misunderstood variants of all. These tables should never be mandatory, and should be properly balanced for the needs of your play group.You don't want a "Wandering Monster" table that will drop an army of hill giants upon your low level players, unless you have a way for your players to approach such a situation without being destroyed in combat (Just as a pair of kobolds would be a poor match for your epic-level campaign.) 

Typically, random encounters exist to fill time and increase the average challenge level of a dungeon. By causing the players to expend some resources in the form of HP damage or using up ammunition, random encounters can balance out the difficulty of a level without forcing you to redesign your set pieces on the fly. Is the party a bit too fresh to find the final boss a threat? Throw a pack of spider warriors their way, or roll up a skeleton squad instead. Just remember that you are never beholden to random tables, and you have the option of avoiding them entirely if you so wish.

Another reason for using these random generators is simply for randomizing the order or implementation of prepared encounters.

For instance, I once ran a race for my players comprised of ten separate encounters. I mapped them out in flow chart form, but left each point of the map blank. Then I rolled on a chart made up of all ten encounter types and assigned each map point its own encounter. Which means that the encounters were pre-made but assigned to random places on the map.

In another instance, I prepared about five major encounters for a naval voyage. I knew that the group would only have time for one or two during a session, so I used a random table to determine which encounter to use whenever they triggered one. These encounters included a mermaid attack and an unscrupulous merchant. I also used a table to determine how far they traveled between encounters so that the voyage wouldn't seem regimented and monotonous. Finally, I rolled for weather conditions, which would be an overall superficial choice of the kind I described earlier.

The players shouldn't be at risk of major catastrophe or victory based on a mandatory random roll.  Those kinds of moments should grow from their choices and interactions with the primary plot points and encounters of your campaign.

Source of Inspiration

Finally, there are times when you are just plain out of ideas for a game, and need something to stimulate your imagination. Random tables can be used as a starting point for some very cool campaign ideas. You can find many tables online full of story ideas for many tabletop settings. It's a great way to jump start your creativity and overcome writers block! Just remember to elaborate on whatever you end up with and personalize it for yourself and your play group.

Don't let any random encounter seem truly random, and you might not even want to let the players know that you rolled for it. A few fake rolls and misdirection at key points will prevent players from ever guessing when you are rolling dice for real!

Whether its to flesh out your map, to add uniqueness to the setting, or just to get the ball rolling on your next campaign, random generation can be a very useful tool for your games. Hopefully this entry has given you some great ideas for how to include them in your next tabletop escapade. Happy ventures!

Mysteries in Your Campaign

Checking out the crime scene (Sherlock, BBC)

Audiences love a good whodunnit. When it comes to your campaign, the occasional mystery can be mentally stimulating and a great opportunity for a uniquely structured game session. But managing the complexities of such a challenge and giving the players a fair chance to souse out the truth can be difficult. With this in mind, here are my top tips for running a successful caper in your own campaign!

Develop a timeline of events before you do anything else.

Throughout the game, your players will follow up on many leads in their search for the truth. Not all of these leads will bring them to the solution. In fact it is a well-known DM's adage that your players will latch onto the most inconsequential of things within a setting and believe them to be important. This means that it is best to have a big picture of everything that is going on behind the scenes so you can more clearly present the players with the sequence of events and provide them with many leads to follow. Plan out ahead of time which leads are false so that you can clearly direct the players to the correct one.

The start of this step is simple. First write down each important character that is involved in the mystery. Then decide where they were and what they were doing when the main event of your mystery occurred. Decide whether their alibi is true or false, and what part they took in the events that unfolded.

Finally, give them each a motivation of some sort. This is basically the 'probable cause' that will make them a suspect.  

It might be easiest to write this down as a table of some sort. Line up their name, alibi, and description of their role and motive. I first saw this explained in an article from Dragon Magazine by Wizards of the Coast (Issue #426), and this technique has helped me in putting together my own intrigues.

Include more clues than you think you need.

This is a specific subsection of the larger rule that it's better to over-prepare than under-prepare. This especially applies to mysteries where it is easy for players and DMs to become confused or run short on ideas. Additionally, if you plan on having the players roll to notice certain clues, make sure that they aren't excessively difficult. Remember to include clues that can't be missed with a failed dice roll. You don't want a series of bad rolls to ruin any chance of solving the puzzle.

Now you should put together a list of clues and things for your players to investigate.

Be sure to have a wide variety of clues. Keep in mind what the player characters are good at, and what skills they will be putting to use during the investigation. Talking to witnesses and suspects, gathering evidence from the scene of a crime, or conducting forensic research are all possible moves that clever players might make. With these possibilites in mind, put together a bunch of clues and remember that each of them should produce some kind of useful conclusion. You probably won't need all of them, so be sure to have multiple clues that might lead to the same or similar conclusions. Include clues that rule out possible suspects, or guide the players to a location where they might find even more clues.

Rounding up the usual suspects. (Shadowrun)

Keep the clues obvious and clear.

You're going to want to avoid any ambiguity if you want your players to have the best possible chance of solving the mystery. After all, the goal of a mystery based encounter is to give the party a fun and stimulating challenge, not to stop them in their tracks or leave them stumped and defeated. As I stated previously in this entry: 

When it comes to planting clues, the simpler and more numerous the better. This isn't to say that your audience is ignorant, but once the group is around the table shouting out ideas and following their own trains of thought, you will find it will take much longer than if you had presented the same puzzle to a single player. Also, mysteries are hard to design in such a way that the solution is clear yet challenging for the players. 

Avoid subtle, circumstantial evidence. Don't be afraid to make the clues obvious. Clarity is important to keep things on track. If you're worried about a mystery being too easy, you can have NPCs require a more substantial amount of evidence to convict a culprit, or some other in-universe explanation for why the players shouldn't go straight towards accusing their suspect. If all else fails, warn players that they are missing key information if they are about to jump to a conclusion too early.

Improvise clues through actions the players take.

Finally, be flexible and patient with your players. If they choose to investigate through an avenue you had not considered, try to adapt to their choices. You might even consider adding additional clues you had not originally planned for. Don't be close-minded enough to only allow one way to approach a problem. Consider the basic facts you have already established about the mystery, and how they could be discovered through whatever methods your players are most interested in. 

Work your existing clues in by means you might not have considered at first. For instance, instead of detecting a particular scent of perfume at the scene of the crime, perhaps your players will glean this information through interrogation of a witness. Be fair, be reasonable, and be accommodating to the play style of your group.

If all else fails, don't fret. Start into the action!

If your players are still stumped and getting frustrated, don't panic. Whether it is due to excessive difficulty or lack of experience, it needn't get to the point that the players are having a bad time. Shift the focus away from the combat. If necessary, resolve the caper with a big action piece. You can present a consequence for failure to solve the mystery, but don't make the party feel bad about it. Like any plans gone awry, they can be reworked to the overall benefit of the campaign. As always, keeping everybody entertained is the core of your game.

Happy ventures!

Knowing When to say "No"

This idea just isn't going to fly. Unless you're playing Rifts.

Nobody likes a buzzkill. Naysayers and wet blankets who shut down creativity and cut off a game's true potential. It's true, and I have emphasized in previous entries the importance of encouraging players with positive encouragement and building off whatever ideas they present. But just like anything else, the exceptions make the rule. Because sometimes you just need to tell your players that a particular lock can't be picked, a monster can't be bribed, or their warlock can't be armed with an arcane bazooka.

There is a time and place for saying "no."


And your players will appreciate you for it. After all, the game is meant to present them with a challenge. If any action was met with an affirmative, the game could be ended as easily as saying "I beat the bad guys, win the treasure, save the day!" The problem is not that GMs say no, it's that it is sometimes difficult to know when is the right time to say it. Unfortunately, there is no simple answer. You have to take a lot of things into consideration and use your best judgement. Fortunately, if you are focused on providing players with the means and encouragement to persevere and succeed, you can still get away with declining certain options. Keep in mind that these situations are not the ones that involve a roll. A roll of the dice means that there is a possibility. These are situations in which the answer is just a straight negative. There are a few hallmarks of a question that you might fairly answer with "No,"

If an action is logically impossible. (Jumping across a hundred foot chasm without a special power.) 

If something would create a contradiction within the rules or established fiction. (A player finding windows within the underground bunker.)

If it would hurt the entertainment value of the game. (Letting the team clown pull down the pants of the fighter's arch-nemesis during their dramatic confrontation)

Remember that enabling the players to be creative and have fun is still your top priority. That being said, the first thing they try does not have to be guaranteed to work. If everything is solved with the first idea or suggestion the players toss out, your game risks becoming too easy, and a bore. So don't be afraid to politely suggest the players try something else.

If your players get frustrated when confronted with an obstacle, there are other methods available to a wily GM. I've spoken before about the term "Yes, and..." Another useful tool in the GM's disposal is "No, but..."

Is there a door into the next chamber?

No, but there are some loose bricks in the wall nearby.

Can I sweet-talk the gnome without knowing its language?

No, but he looks like he is already very scared of you.
This technique rewards players with new information and prompting instead of simply stonewalling their forward momentum. You're giving them something for their actions, and suggesting directions for their next action without directly giving a solution. Just be sure you are not limiting your allowances strictly to the particular way you think the players should handle the situation. And don't discriminate towards the contributions of a particular player. Give every action suggested by the party a fair consideration and keep an open mind.

Odds are that the players will come up with their own solutions for a challenge before they even touch upon the ones you had thought up. Let it happen that way. And if they get stuck on a problem, be open minded to alternative solutions that could resolve the situation. This may seem anti-climactic, but if your game gets stuck in a rut, it's not going to be fun for anyone. Better to put things back on track and move on when it seems necessary.

WWE's Daniel Bryan shows us how to say it.

The players must have alternatives at their disposal.

Often these alternatives will be costly. The player might be forced to choose between two options that will each have their own consequence. This is bad for the character, but great for the game and the player! If there is never any cost, there is never any drama. No drama, no investment. No investment, no fun. So don't shy away from presenting these dynamic scenarios in which there is no 'right' answer. Let the player decide for themselves what decision is correct. Let them deal with the consequences and play out the adventure they want. Show them that obstacles are simply there to be overcome by presenting them with challenges to surmount. Total victory should be rare enough that it feels special. Often the loss of a tactical advantage, the reveal of a villain's larger plan, the fall of a useful ally can present a great jumping off point for further adventures.

Your players may press you at times to just give them what they want, but the overall enjoyment of your game for all of your players is your main priority. You won't be able to please everybody every single game, and you can cause yourself a lot of grief if you try. Hold firm to your own instincts, and make it up to the player by playing to their tastes in a future session. You don't want to be the players' adversary, but neither do you need to pander to every whim. You're there to make the game fun and challenging, and hopefully have fun in the process. And sometimes that's going to mean a little tough love. But as long as the group all knows what to expect from the kind of game you are running, the obstacles along the way will make their triumph all the sweeter!
Happy ventures!

Choo-Choo, All Aboard! Running Linear Game Sessions

Working on the Railroad 

Among players and game masters, no path to adventure is as maligned as the infamous "railroad." Railroading players is defined as limiting their path to a very singular sequence of events rather than free form or branching paths to the adventure's conclusion. In most cases this can be very frustrating for players, since it removes their sense of freedom and agency and restricts the game to a predefined structure. 

For example: The town is being tormented by the machinations of an evil necromancer. In order to reach his tower, the players must pass through the dark forest, and then climb to the top. If they try to abandon the mission, the necromancer will destroy the town. There are not many ways to circumvent the overall course of their mission. It's going to be town, forest, tower.

Now at face value, this sounds like a bad idea. It locks the players in to restrictive gameplay. But there is a place and time for everything, even a linear game design. There are cases in which a linear adventure design can actually provide a more engaging experience. The trick is in execution, and allowing the players freedom to make choices within the framework of the adventure.

If you think about it, most video games contain similar restrictions. They have a series of progressive levels that you have to complete in order to proceed to the end. Even open world games have specific quest lines arranged in a particular sequence. There's nothing innately wrong with having a planned sequence of objectives. In fact, following a prepared path on the tabletop makes sure that the players will face encounters that have been designed for maximum satisfaction. A scenario the DM has planned and prepared for is usually more likely to satisfy than the one he has to invent on the fly. Of course player freedom is important. But if it will result in a dull or confusing experience, it's not worth it. 


Remember to keep your linear adventure fun for the players with these five simple rules:  

1. Don't limit yourself to the plan.

When the players make choices that don't lead them into the next scene, don't automatically fight them. Even when the game has a set arc to follow, it should still feel organic. Embrace alternatives as your players present them. If they wish to take a stagecoach instead of buying horses to arrive at the OK Corral, roll with it. As long as they hit the highlights, you should be fine. Mix improvised elements into your adventure path. Use the advice in "What's Behind That Door?" to allow you to work your planned encounters back into the adventure. You know what you want to have in the adventure, but allow your players to have their say on how it is introduced.

2. Fill in spaces.

Use alternate paths and new ideas presented by the players to 'fill out' their adventure. Let the players explore side-paths before you guide them back to the trail. Use honey rather than vinegar: offer enticements to draw the group back to the parts of the adventure that you have prepared in detail. Use their PC's motivations to inspire them. 

Whatever you do, don't try to force your players back onto the path. That's where the term railroading comes from. In extreme cases, address the players directly and ask them what they want out of the adventure. Sometimes they might just need you to present them with a stronger hook to make them care about the adventure at hand.

3. Include options within each scene.

"You need to rescue the princess from her cell, but that doesn't mean you have to fight your way out."

Just because the players are on a certain course to finish the adventure doesn't mean they should have no say on the inner workings of the quest. Your encounters themselves should include for multiple avenues to success (combat encounters with limited options are no fun.) Dungeons or other mapped areas to chart their own path through are the most classic. But there's also including non-combat solution to a combat encounter, a second door into the same room, a chance to choose their weapon in a gladiatorial duel. Even minor decisions like naming a flagship or choosing outfit to wear to the ball can be fun and engaging for players if presented right.

Another common trick is letting the players choose an order of events. If they have to tame three beasts before gaining audience with the beastmaster, at least they can choose which creatures they approach first, second, and third. 

Make sure you are including options within your games by tracking how often you are asking players questions. As long as you are doing this and letting their answers have effects on the game world, you avoid boxing them in.

4. Don't make it obvious.

If you use these techniques, it shouldn't be so obvious that the players are following a certain course of events. After all, they have chosen their routes, made decisions along the way, and you haven't stopped them. If they played through the adventure a second time and it turned out the same, they might feel disappointed. But that's why you only run it once after all! If your players seem happy with the game (always the number one priority) then you'll be fine. 

Remember, absolute player freedom and having an open world doesn't take priority over fun.

5. Don't make your whole campaign linear.

Mass Effect 3 had a relatively simplistic conclusion

On the flip side of that last rule, having complete control and being prepared doesn't take priority over fun. 

That's right, this is the part where I say not to do everything I just said you can do. At least not making a habit of it. This isn't a model you want to apply to more than a session. On a big picture level you will want to allow the players to chart their own course and work from there. Players having control over their adventure paths leads to your party having a greater stake in it. Unless you are running a module, don't plan out your campaign in long term, prepared detail. Let the players course develop in its own direction. Linear adventures are ideal for one-shot adventures that only last a session for this very reason. Following the principles here can make for a fun, quick game. 

At last, keep in mind that an adventure is only as good as the parts of its whole. If the singular path you have in mind is comprised of poorly designed encounters and storylines, it is time to redesign. If your players don't seem happy, give yourself a time out and reassess the situation. See what you can salvage from the material you have prepared. Don't throw everything away out of frustration. Find out what it is that's not working and then re-work it to fit your players' needs. Just don't insist on keeping everything as-is just because that's what you originally planned. Being able to adapt and improve your ideas is the key to running any adventure, and the key to good game mastery.

Happy ventures!

Eureka! Knowledge Skills!

Perhaps the most underrated subsection of skills in gaming are those that fall under the classification of knowledge skills. It isn't even the players' fault that these abilities get a short shrift. A lot of DMs just don't know how to make it worthy and effective to put a knowledge skill to use in the action-packed encounters that make up the majority of the game.

That's because most people initially view knowledge skills as something that is used before and after encounters rather than playing a major part in them. This is true, but if you are a DM that really wants to encourage a variety of character types and different methods of problem-solving, it will behoove you to make knowledge checks more useful to players.

Why Knowledge is Important

Knowledge skills and intelligence stand as a counterpoint to tricks like lock-picking or rope-swinging. They're not often viewed as equally practical, but if you showcase their uses in your games they certainly can be. Most good stories have at least one character who favors brains over brawn, so why not include that as a viable option in your games? The problem is applying knowledge effectively in encounters requires some homework on the part of player or DM. How does knowledge help you when a dragon is bearing down on you with its flame breath? Or when a cavern tunnel begins to collapse?

Knowledge skills should ideally have enough utility to measure up against other skills when choosing which abilities to develop. They shouldn't be limited to trivial or inconsequential effects in the game world. It's easier said than done, because by their very nature they require a lot more on-the-fly creativity and improvisation. Once you get the hang of it though, your players will be encouraged to use the skill more often and your adventuring parties will become more versatile and interesting as a result.

Brainy Characters as Support Characters

In encounters, knowledge is primarily a support skill. This means that it has indirect effects instead of direct ones such as causing damage. If a brainy character wants to take thoughtful action, they should be able to do so in a way that either opens up new avenues for more direct options, or provides a bonus to another action. That means you can reward them with a piece of secret info such as what the monster is vulnerable to (a new option) or give them a bonus for knowing a trick like having a water-soaked blanket to throw over their head during a fire (bonus to an existing option.) 

Adventure smarter, not harder

This is not to say that you need to make an intelligence roll to be a smart player. It just means that you can let your character's intelligence work for you. The thing to remember about smart characters is that they should not be limited by the critical thinking abilities of the player controlling them. If your player doesn't have a lot of clever ideas for thinking their way out of a situation, it shouldn't mean they are relegated to playing dumb mooks. They can instead make a knowledge check to come up with a clever thing their character can do in a given situation. 

A player should not feel like they have to do all the thinking for their brainy character, otherwise their intelligence stat would be immaterial. When your genius level wizard misses something in a dungeon because the player miscounted doors, it will make the players start to wonder if that stat makes any difference at all. 

Consider intelligence attributes a 'safety net' for getting through critical thinking scenarios. It doesn't do all the thinking and planning for the player, but it provides helpful tips to keep them smart. So when it comes to puzzles, the smart character shouldn't be able to cheat their way through it... but it's not unreasonable to give them a bonus hint if they succeed at an intelligence check.

As was mentioned before, providing a circumstance bonus or new option are the main ways that the knowledge skill helps out during encounters. Between encounters it provides additional clues and useful background info to the players. But coming up with results to be gained from any knowledge check is the hardest aspect of the skill, and why it can be such a headache at times. The trickiest part is that any success needs to imbue the player with knowledge that actually makes a difference. This is what really brings value to the skill and makes it useful in your games.

There should be a noticeable benefit to having the information when compared to not having it. It can't be superfluous or trivial. Knowing that some ancient ruins were built by goblins should help with translating signs, or preparing for goblinoid enemies. If the goblin backstory just a interesting historical detail then you should also include some more useful information, like the legend of a secret entrance behind a waterfall. Make your players see the benefits of spending points on knowledge, because they can think their way out of situations and sometimes avoid combat in a way that still feels compelling and fun!

Smart characters can make even supper an adventure!

Ideas From Players

Another quirky method of gleaning ideas for the application of the skill is to ask the player to propose a fact themselves. I was introduced to this idea of prescriptive knowledge checks in the excellent FATE game system. The player proposes something like "I remember that this variety of poison can be neutralized by citrus. Hand me that orange!" The DM then rolls behind the screen, modifying the roll based on how unlikely the statement seems. Then, if the player succeeds, that statement now becomes true in the game world. It is now a true fact that they may act upon and they gain all of its benefits. However, if the roll fails... the fact is not actually correct, but they think it is true, and you get to enjoy whatever hijinks follow from that misinformation.

Even if you don't ever use this technique, it may still be useful to crowd-source ideas for a knowledge check result. I often ask the players what they might include in a given scene, and when it comes to these situations a little friendly advice from your game table couldn't hurt. What might a monster's secret weakness be? What special technique do you remember for dealing with a giant wasp? Throw it out there and see what the players think. The collaborative aspects of game-running can often give rise to the coolest and most memorable moments.

Happy ventures!

"The DMPC Must Die!"

He is every player's nightmare.

He knows more than the players already.

He is a higher level than the party members.

He has an incredible secret that won't be revealed until the time is right.

He speaks for the player characters, and sometimes fights their battles for them.

He can't be killed and his inclusion in your adventuring party is mandatory.
He is to be escorted and protected, yet instigates conflicts.

He is The Bad Dungeon Master Player Character.

The "DMPC" is sometimes helpful to balance out a smaller party, fill a tactical role in the group, or deliver information to player characters. But there is a type of DMPC that shows up far too often in campaigns, a character who insinuates themselves into the adventure and undermines the game itself. A character like this is the most common DM mistake in the book. I have heard, read, and experienced many stories about this guy. It is with the best of intentions that I broach the subject, because I don't like to emphasize the negative, but we will all be better off once this contrivance is put to rest.

At some point in your DM career you may fall prey to this. You create an NPC to facilitate the characters' adventure, to help give you a voice in the game world and move things along. A trail guide, if you will. But here's the thing. This isn't their story. Your focus should be on the quest itself, not the characters undertaking the journey. And sometimes the characters you create to join your players become an unwanted intrusion in their adventures.

I myself have been guilty of creating characters that I really wanted to be popular with my players, but ended up being loathed. This can be worked to your advantage, as I have described previously. Just don't try to force a character onto your party, or introduce the dreaded Mary Sue. If your NPC fits any of the characteristics listed at the beginning of this article, it is worth considering a change.

Bad DMPCs take the power away from the player and the satisfaction they get from overcoming challenges by their own abilities. They steer the plot along a strictly controlled route that they have little to no say over. At their worst, they make the players feel inferior, or become a channel for the DM to act out passive aggressively.

There is a place for NPCs, but challenging your players for heroism isn't one of them. The player characters should be the main characters in your campaign, and the main agents of change and story development in their environment. This is the main difference between writing scripts and novels and playing tabletop RPGs... the writing process. A novel is a singular vision realized. An RPG is like a brainstorming session. It is ideas being shouted out from around the table. Does this always produce the best stories? Sometimes it does, it has given us series like Dragonlance and Malazan: Book of the Fallen. But the purpose of the RPG is fun, entertainment, and community. A crowd-sourced story may not be anything worth publication, but it can still be a story that is enjoyed and remembered fondly by the players as their own.

Happy ventures!

What's Behind That Door? The Living World of the Tabletop

The Hunger Game Masters know how to switch things up on the fly.

The Modular Dungeon

The key to a dynamic game as I have described it so far is flexibility. One way you can be flexible is to remember that the encounters and elements that you design and prepare for your games are modular and can be moved around behind the scenes to suit the needs of your players. What this means is that as long as you have not introduced an element of your game world to your players yet, you are free to alter and tweak that element as needed. This also allows you to recycle unused ideas and implement them in other ways when the time is right.

At the end of a successful dungeon crawl, rather than forcing players to trawl every room for one hundred percent completion, I will save my favorite rooms that were left unexplored and transplant them in a future dungeon. No sense in letting anything go to waste. If I can adapt a pre-built trap or puzzle for my next adventure, it is all the more efficient!

Adapting Non Player Characters

This principle often extends to NPCs as well. Let's face it, the characters that are the DM's favorites are not always as popular with the players. And sometimes the guy you intend to be window dressing is considered more interesting than the major quest-givers and allies you designed. This is where I apply this idea of flexibility, and adjust the role and behaviors of the characters slightly based on how the players respond to them. If the players view the local bard as a shifty sneaky character, they may have a good reason to feel that way, even if I didn't initially intend it. I will play to the audience, have him whisper to mysterious compatriots and generally skulk around. Maybe he's actually a spy working for a good cause, or maybe he's just as sinister as he seems. The point is I incorporated the players' reaction to him into his character itself. Rather than telling the players how to feel about something, it is better to take note of their natural responses and use that as a jumping off point.

Transparency and Offering Choices

It is still necessary to play fair of course. That's where the principle of transparency is important. Transparency is the measure of information you make available to your players. Sharing more openly with your players will bring them further into your world, but once you reveal a detail it is difficult to take it back. The trick is in controlling the flow of information. Not too much, not too little.

When a player reaches a crossroads, they should have at least some clue as to what lies in each direction. The choice should never be between two identical paths, because that doesn't really represent a real and satisfying decision. Instead, as described in many Game Mastery guides, they should be given enough information about each option to come to an informed decision. It doesn't have to be very detailed, or give anything away. They might hear running water coming from one corridor, and smell brimstone and ash from another. Once this happens, the rooms beyond must match those details, no 'take backsies' or changing of the narrative on the part of the DM.

If you are trying to decide between two different rooms or encounters to set before the players, there is no need to set up a blind crossroad and have the players decide. You can simply roll the dice and place whichever room they indicate at the end of the next hallway. Don't give players 'fake' choices, in which they can only guess blindly. Making informed decisions and seeing them take effect is one of the most rewarding experiences players can have. Keep giving them those opportunities and your campaign will be brimming with adventure!

Happy ventures!

Don't Roll Them Bones Unless You Mean It!

Previously I shared some details about how to keep your game engaging and dynamic. I think it's about time I get into the nitty-gritty and lay out some of the rules I set at the game table to make sure I follow that core principle. The first one worth mention is of course:

Don't roll the dice unless failure would have a unique and interesting result!

This includes dice rolls made by the players. The basic reasoning behind this is simple: the dice are there to help you add an element of chance to the game. They don't need to be a crutch for game-running, decision making, or keeping players engaged.

Rolling dice too often can hurt your game in a number of ways:

• It slows down the action.
• It devalues the impact of the dice results on your game.
• It places the core of your game on randomness instead of strategy.
• It adds the potential for failure in cases that may pointlessly disrupt the game.

Automatic Successes and Failures

There are times when a dice roll may be required, but there are also times when automatic success or failure is the most logical choice.

Success should always be automatic when the result is either immaterial or crucial to the progress of the campaign. Sometimes a roll may be made to determine how quickly you find the vital clue that leads you to the next chapter, but it should never incorporate the possibility of not finding the clue at all. Each roll should have a distinct purpose, so rolling five times to find the clue is likely to leave your group bored and frustrated. Many systems use the "take 10" or "take 20" system to avoid this problem (In which you can choose to spend some extra time on certain tasks and automatically complete the task as if you rolled a 10 or a 20.) 

Automatic failure is a trickier matter, and should be implemented carefully. You'll want to use it more sparingly to avoid undue frustration and dead-ends for your players, but it still has its own appropriate time and place. It could be an instance of an obvious goofball move like grappling with an intangible ghost, or simply a contingency the DM has planned for, like a failsafe alarm if the heroes shut down a security system, but some things just can't be avoided. Don't roll dice if the task is impossible, just break the news to the group right then and there.

Being Prepared For Success or Failure

In any case, the roll of the dice should always be associated with two or more results, not a foregone conclusion. Dice rolling, especially rolling in the open, is the one way that action is allowed to take place out of the hands of player and DM, so it should generally be unnecessary to undermine it by vetoing the result. Try to have an idea of the possible outcomes in mind before you call for a roll, not after you realize that a failed spot check has derailed your game. (Same goes for unlikely successes.)

Also keep in mind that failure is not a bad thing! It is necessary for the suspense and challenge of a game campaign. Failure should open up new possibilities for a player just as often as closing them. Dropping to the floor at an enemy's blow, for example, leads in to a chance to roll out of the way of their next attack! And finally, keeping up a brief but evocative narrative of the action, whether provided by the player or DM, will help to keep things from becoming a slog. When the ranger casts out her grappling hook and fails a roll, it doesn't just end with "you fail." She sees the hook pull taught against the ledge, and it pulls loose a rocky outcropping and falls free, dropping a stone on the head of an angry troll beneath that snarls a vicious threat.  The overall aim of all this is to subconsciously convince your players that failure isn't the end, but the source of conflict and drama from which enjoyment is derived. The player should ideally be able to find enjoyment in the unfolding action and gameplay, regardless of a streak of bad luck. The average dice results should not dictate whether or not a player has fun.

Having Fun With Dice and Without Them

But why is it that players and DMs tend to roll dice excessively instead of leaving them for when they are needed? One of the main reasons for this is because it gives the player a sense of active participation in the action, more so than the abstract description of their character's actions. Being able to do something with your hands and crunch the numbers of a roll is stimulating and attention grabbing, whether it is relevant or not. Additionally, some pragmatic players prefer tossing the bones to detailed role playing or storytelling and it is their way of amusing themselves to pass the time.

Rather than punishing the players for this habit, which wastes time and possibly disrupts the campaign (A character who keeps making dexterity rolls and falling over their own feet, for instance) Your group should remember to include alternative methods to provide the same feeling of interactivity. Miniatures and maps are a start, kept within reach of the players so that they can move their avatar around to represent their actions. Tokens like FATE's fate points or Savage World's bennies provide an in-game economy built around player actions that can keep things moving along. Some players might also find taking notes or modifying character sheets a useful way to track progress and stay engaged with the game. Whatever makes your players feel involved is great!

The players are of course always free to have fun rolling dice whenever they please as long as it is not disruptive. There's never anything wrong with a joke roll to determine a character's current desert cravings or feelings about jazz music. But if it comes down to rolls called by the DM, dice being used to affect the outcome or continuity of the campaign, be concentious, be prepared for any result, and make it count!

To be continued...

Dynamic Game Mastery Is More Fun!

Image by Scott Murphy for Wizards of the Coast

If there is any one word I would use to describe a fun and engaging tabletop experience, that word would be 'dynamic.' A really memorable game will have a sense of progress that doesn't slow down or stagnate, because it has the active guidance of a master storyteller at its helm.

Lessons Learned From Dungeon World

I have played and experimented with a lot of different tabletop RPG systems, and each one had its own strengths and weaknesses which taught me lessons that could be applied to any of the other systems. Dungeon World is the game system that really drives home the true nature of the DM's role at the game table. Instead of allotting turns to NPCs, Dungeon World lets the game-runner perform "DM Moves" whenever a player fails a roll. The move is up to the DM, but it could be allowing a goblin to close the distance to its target, activating a trap, putting an NPC in mortal peril, or anything else that drives the action and opens up new possibilities.

This concept can be applied to any game, and improves the way a game is run by changing your way of thinking about it. Every decision you make behind the screen is more than just a numerical value, or pre-set choice between two options. It is an organic tapestry of tactical and story-based decisions driven by your own creativity. Let yourself think of the reason behind every action you take as DM, and remember what people want from the game: fun, excitement, and the ability to make choices that matter.

This means you have a framework to build encounters around as well... terrain hazards, enemies, unexpected threats, these are all part of your toolbox and you are free to implement them as needed. If an encounter seems tedious or starts to drag, think of ways you can make your "DM move" next. What can you add or subtract from the scene to make it interesting? How can you present more challenges and possibilities to your players? Think beyond the basics and ask yourself what will make things fun for your group.

Crafting a Universe of Adventure!

This fluid way of thinking is the best way to improve your overall technique behind the screen. As you challenge yourself to think outside the box and keep things moving, you will get better at running games that are much more memorable. At the end of the day, players will get more enjoyment out of a fight that resulted in a boat chase, a fall out a window, and an ally turned enemy than if that same encounter had been a rote battle against a gang of minions in an empty warehouse.

As you get better at identifying what works well for your group, the dynamic style will become much easier. Just remember that each element you add to an encounter should prompt some sort of action and response on the part of the player. When running a dynamic game, the DM should always engage his audience, frequently asking the classic question "What do you do now?" Your players will become just as fast on that feet as you, and their decisions will sometimes challenge you just as much as the other way around!


To be continued!