Q: "I've asked a lot of questions recently, for two main reasons: I'm doubting my quality as a new DM (five games in), and I'm not really having fun anymore (and kind of dreading the game every week).
But one of my biggest struggles is: How do I make combat more interesting? The way I'm doing combat now, there's nothing interesting or fun about it. Your turn comes up, you roll a d20, more often than not you miss, and if you do happen to hit you make a small dent in an otherwise bulletsponge of an enemy. Lather, rinse, repeat. There's no strategy. There's no excitement. There's no real feeling of tension, or fear. If I do a large group of enemies the players get bored of the monotony. If I do one large enemy, they get bored fo the monotony. I don't know how to design encounters so that they're not just a game of Worms."
A: This is a fantastic question.
1) 4th edition had a similar issue with the "sacks of hit points" problem, and the hack was cool - lower monster hp by half, and have them all hit harder.
2) 4e also used a "minions" mechanic where lots of little dudes would show up and take only one hit to go down.
3) 13th age has an "escalation die" mechanic where you start with 0 during the first then "tick it up" each subsequent round from 1 to 6. Mechanically the die gives it's bonus to all attack rolls given by either side in the fight.
4) good fight descriptions can be awesome, but it's not a requirement. Personally, I save it for epic or game changing hits. Recently one of my player missed w a flame attack in a fight w a bunch of goblins, and I told him he hit the door frame and knocked it onto the ground. Little descriptive moments like that are good.
(4.5) critical misses are a great opportunity to do something cool or funny
5) Fate has this mechanic (Situation Aspects) where you prep little "props" in your combat spaces for players to take advantage of. For example if players get into a fight in church, the props might be "giant stained glass window" and "pews" and "the lectern". Getting your players to think about interactables is key "you can attack, or you could pick up the lectern and use it as a shield". "You could push the bad guy through the glass window as a bonus action here roll.STR"
6) D&D is not designed for grid combat. Take advantage of this by running swift combat with note cards. A simple rule of thumb is that each notecard is an interaction space, so like if the NPC's and players are on one space, they can fight melee. If they are in two adjacent spaces, they can fight ranged. Don't worry about stated "ranges" for spells or arrows, just be fair and reasonable. This lets you do all sorts of crazy stuff, like pirate ships in a massive sea battle, or moving from city block to city block in an enemy invasion.
7) multi-goal combat and "beat the clock"
For showcase fights you can ramp the tension up with timers - the castle is wired to explode if the players can't disarm the magical trap, (series of skill checks) while the rest of the players deal with the wizard and his magic golem
Appendix:
Faster and Deadlier 4e Combat
Transporting 13th age escalation die
On Narrative Combat - Sly Flourish
d100 Fumble Chart
Fate Core SRD Situation Aspects
Sunday, October 23, 2016
Thursday, October 20, 2016
Good game masters are the killer app of table top RPGs.
Notes
from GM Panel at Gaymerx
(Paraphrasing
some answers from my mess of mobile phone notes)
Q:
How do you teach new GMs?
A:
- Feel it's about scheduling and creating time to create and play.
- Writers block can be an issue as well
- One shots are a great way to set yourself up as the GM of a game.
- I would teach that you are the director, and you can let the players write the script with their own paranoia
Q:
Tips for creating a good campaign?
"Good
game masters are the killer app of table top RPGs. The only thing
that publishers provide are tools and advice."
- The #1 thing is providing something that players want. My trick is playing close attention to character builds. The Characters that the players build will inform the world you build.
- Set expectations and boundaries.
- Let them build their own Paranoia.
- Learning from Improv. The power of "Yes, and then this happens."
- Oh! There's also "Yes, but..." and "No, but..."
- Do the players have skills in storytelling or art or organization or writing that you can utilize?
- When you pass the story to the player, Player investment grow
- Learn how to do "texture swaps" (using monster stats for one monster but saying it's something else)
- The Rule of cool
- Fail forward - See failure rolls as interesting and as an opportunity to add to the story. Raise the stakes: When either result (failure or success) starts to become interesting
Q:
How do you provide a safe space for gamers?
A:
- If there is one thing I want players to take away from this panel it's the X Card by John Stavropoulos. The X Card is a way to navigate when things make me feel weird
- It allows people to get more intense or emotional because the safety valve is there
- Also the O card - this a way for players to support each other - to tell each other "More please!"
Q:
How do you deal with people who are causing trouble at the gaming
table?
- Never tolerate a malcontent. You have no obligation to game with people who make the game not fun.
- Read Geek social fallacies
- You can walk away whenever you want.
A:
- Run stuff you enjoy
- DM prepration - Set the mood, freeform
- I always start by building a music playlist
- Don't be attached to an outcome
- Build an Outline.
Q:How do you handle all the Names and characters , and stats/numbers
A: So Publishing is
different than running an actual game. Don't prep stuff players won't
see
Q: How do you go about World building -
A:
- I usually maintain a Wiki
- World building as post game prep
- Helps maintain continuity.
Q:How do you get people back on
track?
A: Escalate potential consequences - before they are about to do something really off the beaten path, ask, "Are you sure?"
Monday, October 17, 2016
Random Things in a Forgotten Magic Museum
From top left, then clockwise:
1. Mask - Sits alone on a floor while passing through a room. It's made of stone. If worn on the face for 7 minutes, it takes on the facial features of whoever last wore it for 7 hours, then it reverts back to stone. A useful disguise. (The last wearer stored could give you a clue about the previous inhabitants of the museum)
2. Mimic Jar - A NPC intelligent mimic that wandered in here ages ago and got lost. Is super helpful and happy to see strangers. Offers to hold things, explore rooms, etc. Just don't let it get too hungry...
3. Canopic Jars - ensorcelled jars that hold the remains of former librarians. The heads can speak, and were designed to hold all the memories of their owners, but the magic has decayed over time...
4. Serpent Sigil. Ancient statue to a potent cult figure. Showing it any sort of deference results it animating and trying to bite you. If you let it bite you, you lose 1d4 hp permanently but you're affected as if by a periapt of proof against poison.
5. Armillary Sphere. This room sized sphere radiates palpable magic. Anyone who studies it for more than a few seconds must save or be hypnotized. The viewer must then obsessively study the sphere from all angles for at least 36 hours, after which they fall into a coma for 12 hours and can't be woken up. When they wake up, the affected now has perfect direction sense over land or sea for the next 36 months. After that, they won't be able to find the bathroom on their own for 12 months. They also learn a secret (as per the hermit background) The Sphere has no effect on elves.
6. Rock Collection. A vaguely magical collection of polished rocks. Removing a single rock seems to lessen the enchantment somehow. These rocks were once a complete collection of depleted Ioun Stones - the original enchantments have worn away over time. Probably valuable to a church of Ioun or a Collector.
7. Song Book. Contains various hymns, prayers, as well as popular ditties from another age. Gives a bonus to performance checks.
8. Skull reliquary - the skull of the founding librarian was preserved in this reliquary. Unlike the canopic Jars it has infallible memory. However the spirit in the reliquary doesn't trust the party at all and will treat them as grave robbers, giving them useless information or sending them into traps. If the reliquary is damaged or opened it summons the ghost of the librarian who is itching for a fight.
Properties for a Broken Family Heirloom Sword
1d12 unusual properties for a broken family heirloom weapon:
1. Itchy Finger - When around an individual who a) intends the user harm and b) tells the user a lie, the weapon extends from its scabbard. Bonus to next roll on initiative. Downside - impossible to sheath the weapon for the next 1d4 days
2. Magic Mirror/Twin - When you stare into the blade, you can occasionally glimpse visions of where the other pieces are. Alternatively, the blade has a twin and you can what the other blade "sees".
3. Secret - When placed in its scabbard, the blade and scabbard transform into a walking stick. The stick has a distinctive sigil carved into it that is shared by the blade
4. Famous - While the blade may be broken, its renown is similar to the folk hero background feature. It will open doors, lift skirts, and leave children and simpletons agog.
5. Evil Countenance - aka Infamous - the blade makes people feel extremely uncomfortable. No one else can hold it more than a few seconds other than you, and it gives you a bonus to intimidation checks. Babies cry around you and dogs raise their hackles and bark at you.
6. Flame - a carved, flame colored jewel is imbedded in the pommel of the blade. You never feel the effects of heat or cold, and gain a bonus on exhaustion checks
7. Pensieve - Any person who willingly places the blade to their forehead may place one memory into the blade. In the past the blade was used to transmit secret messages. Maybe there's only part of a memory in there now and you need to find the pieces to put the memory back together.
8. Wizard Locked - Only you can draw the blade or pick it up. Great for drunken bar wagers. Also, with concentration you can sheath the sword in an actual stone.
9. Life Bound - Any place that you sleep in the outdoors blooms with strange edible flowers, even in the dead of winter. Gives bonuses on forage rolls.
10. Bring the Lightning - At will, you can summon a crack of thunder and a visible bolt of lightning, even on a clear day, but only when drawing or sheathing the blade. Your father told you if the blade is ever restored, it will do far more than that.
11. Pactblade - Your blade was once used to sanctify ceremonies and rituals. Even with a broken blade, people still seek you out to consecrate their marriages, bless their sheep, and pass judgment on lawbreakers.
12. Sheath of Hands - At will, the ground cracks open and an arm extends out holding the original sheath to the sword- demonic, skeletal, tentacle, fey, or angelic. If you hand the sword over, the arm returns to the earth with the sword. You can will the hand anywhere on bare earth and unsheath the sword as a free action. Again, your father told you repairing the sword will win you the service of the creatures bound to the sword.
1. Itchy Finger - When around an individual who a) intends the user harm and b) tells the user a lie, the weapon extends from its scabbard. Bonus to next roll on initiative. Downside - impossible to sheath the weapon for the next 1d4 days
2. Magic Mirror/Twin - When you stare into the blade, you can occasionally glimpse visions of where the other pieces are. Alternatively, the blade has a twin and you can what the other blade "sees".
3. Secret - When placed in its scabbard, the blade and scabbard transform into a walking stick. The stick has a distinctive sigil carved into it that is shared by the blade
4. Famous - While the blade may be broken, its renown is similar to the folk hero background feature. It will open doors, lift skirts, and leave children and simpletons agog.
5. Evil Countenance - aka Infamous - the blade makes people feel extremely uncomfortable. No one else can hold it more than a few seconds other than you, and it gives you a bonus to intimidation checks. Babies cry around you and dogs raise their hackles and bark at you.
6. Flame - a carved, flame colored jewel is imbedded in the pommel of the blade. You never feel the effects of heat or cold, and gain a bonus on exhaustion checks
7. Pensieve - Any person who willingly places the blade to their forehead may place one memory into the blade. In the past the blade was used to transmit secret messages. Maybe there's only part of a memory in there now and you need to find the pieces to put the memory back together.
8. Wizard Locked - Only you can draw the blade or pick it up. Great for drunken bar wagers. Also, with concentration you can sheath the sword in an actual stone.
9. Life Bound - Any place that you sleep in the outdoors blooms with strange edible flowers, even in the dead of winter. Gives bonuses on forage rolls.
10. Bring the Lightning - At will, you can summon a crack of thunder and a visible bolt of lightning, even on a clear day, but only when drawing or sheathing the blade. Your father told you if the blade is ever restored, it will do far more than that.
11. Pactblade - Your blade was once used to sanctify ceremonies and rituals. Even with a broken blade, people still seek you out to consecrate their marriages, bless their sheep, and pass judgment on lawbreakers.
12. Sheath of Hands - At will, the ground cracks open and an arm extends out holding the original sheath to the sword- demonic, skeletal, tentacle, fey, or angelic. If you hand the sword over, the arm returns to the earth with the sword. You can will the hand anywhere on bare earth and unsheath the sword as a free action. Again, your father told you repairing the sword will win you the service of the creatures bound to the sword.
Encounters At Sea
Image Source: The British Library https://flic.kr/p/i8UxXa
Roll 1d6+1d6 (two six sided die) and total the result.
2. The ghost of the previous captain appears to the party and tells them that the first mate betrayed him, and is currently planning to mutiny against the current captain. It would be better for everyone if the first mate just disappeared and the players can make it happen (the Ghost is malicious, and lying).
3. A bright flash is spotted off the port bow. Investigate - An old woman clinging to a barrel in the water. She has a sob story and just needs help getting to land. (She's a Sea Hag.)
4. A bright flash is spotted off the port bow. Investigate - The Psychopomp of the Pleasure Church (and several of his retinue) have been lost at sea on a boat for 3d4 days. This popular religious figure is late to an important religious ceremony and offers the captain a large amount of money to go in the opposite direction of where the party is headed.
5 Becalmed for 4d4 days. Time to party it up with the sailors, learn sea shanties, trade bad jokes and riddles.
6. The fresh sea air inspires you, you start the next combat with +2 temporary HP per level.
7. Get challenged to a contest - whether it’s drinking, dueling, riddle or story telling. If drinking, 1in 4 chance of waking up in the brig, and 1 in 6 chance of waking up in the captain’s bed!
8 Lights seen at night on the horizon - investigate - nothing there, but lights will continue to appear for next 1d4 days.
9. The close quarters and poor sailor hygiene gets you sick - Next set of rolls you make (intiative, skills) are at disadvantage.
10. A bright flash is spotted of the port bow. Investigate - Find a glass bottle with a message from a marooned sailor. Following the badly drawn map leads to an island where you find the sailor’s remains and a decent treasure stash.
11. A giant sea serpent appears speaking dragonic (or outdated common). It demands a large amount of treasure or else it threatens to sink the ship. Virgins and magic items are also acceptable tribute.
Sunday, October 16, 2016
Some Inspirations and Links
The Alexandrian: Don’t Prep Plots
“(When you create a story) What you’re looking at is a chain of potential points of failure. Each of these points is heavily designed with a specific and expected outcome… and if that outcome doesn’t happen the GM is left to railroad the players back onto the tracks he’s laid out.”
“(When you create a story) What you’re looking at is a chain of potential points of failure. Each of these points is heavily designed with a specific and expected outcome… and if that outcome doesn’t happen the GM is left to railroad the players back onto the tracks he’s laid out.”
Hack & Slash: The Quantum Ogre
“What’s really terrible about the destruction of player agency in the above examples is the implicit thought that ‘your encounter that’s sooo cool’ is what makes Dungeons and Dragons fun. It’s not. It’s getting in that Dispel Evil on Strahd that slays him outright. It’s getting that critical on that dragon while it’s talking shit. It’s taking down that frost giant at first level – not your fsking precious encounter.”
“What’s really terrible about the destruction of player agency in the above examples is the implicit thought that ‘your encounter that’s sooo cool’ is what makes Dungeons and Dragons fun. It’s not. It’s getting in that Dispel Evil on Strahd that slays him outright. It’s getting that critical on that dragon while it’s talking shit. It’s taking down that frost giant at first level – not your fsking precious encounter.”
The Alexandrian: Jayquaying the Dungeon
“In other words, it’s not just random chance that’s resulting in different groups having different experiences: Each group is actively making the dungeon their own. They can retreat, circle around, rush ahead, go back over old ground, poke around, sneak through, interrogate the locals for secret routes… The possibilities are endless because the environment isn’t forcing them along a pre-designed path.”
“In other words, it’s not just random chance that’s resulting in different groups having different experiences: Each group is actively making the dungeon their own. They can retreat, circle around, rush ahead, go back over old ground, poke around, sneak through, interrogate the locals for secret routes… The possibilities are endless because the environment isn’t forcing them along a pre-designed path.”
The Rule 0 of DMing (or The Great Immutable Ironclad Law) “Roleplaying games are entertainment; your goal as GM is to make your games as entertaining as possible for all participants.”
West Marches
“2) There was no regular party: each game had different players drawn from a pool of around 10-14 people.
“2) There was no regular party: each game had different players drawn from a pool of around 10-14 people.
3) There was no regular plot: The players decided where to go and what to do. It was a sandbox game in the sense that’s now used to describe video games like Grand Theft Auto, minus the missions. There was no mysterious old man sending them on quests. No overarching plot, just an overarching environment."
Comma, Blank – Magically Generating New Adventures (now defunct, but has some interesting methodologies for creating content)
D&D with Porn Stars - This does deserve a quick summary. I was on the Escapist quite a bit and one of the shows that I never really watched but knew of by name was “I Hit it with my Axe.” I have never watched it, but I have now read the blog that the DM, Zak Smith, writes (Zak also has a design credit on 5E) – This is some really next level stuff. Perfect example. on Hack&Slash, you’ll find a list of lists, which is mostly people solving a problem by generating some content in a format that you’re pretty familiar with. Zak just comes at stuff from a completely different angle. Like just turns the whole design concept sideways and comes up with solutions that just flabbergasts me, over and over again.
“….the Main Thing in an awesome-focused campaign is this: Your players are rock stars and they’re here to rock your house. In this paradigm your job is to be the roadie and the manager and all the other people who make the concert possible. This isn’t one of those analogies that can be stretched forever, instead just meditate on the simple fact that your job is to help your players rock out without getting in their way. Everything below builds from this foundation.”
"In a recent D&D Next playtest video, Mike Mearls ran the D&D R&D team through the classic adventure Slave Pits of Undercity. At one point, after a spectacular explosion, Mike turns to James Wyatt and asks “what happened to your character”."
On Session Zero:
“I guess you could say one of the goals of Session Zero is to minimize the "trial and error" aspect of the game. I want every session to be gangbusters. I see no excuse for even a single session to be lacking the things we all want to see and do. I view whatever time I spend on Session Zero as an investment in time saved later, time that we can spend doing awesome things."
“And does everything go according to plan in your play?” → Yes > “Yeah Right.”
http://evilbrainjono.net/images/Finding_your_GMing_Style.jpg
“So in this case, if Lucy Clawless the Ranger is searching for the clue and her player rolls a 1, she can still find the clue. However, there is some additional cost. Maybe another adventuring group finds out what they’re looking for and now it’s a race to the Caves of Order. Maybe the agents at the Cave catch wind of the group’s efforts and set a trap.
In any case, failure is interesting. In fact, it’s often more interesting than success.”
In any case, failure is interesting. In fact, it’s often more interesting than success.”
“So this is what a D&D party so often is: not a group of people necessarily destined to grow and change and bend to conform to Principles of Drama, but a group of people who demonstrate, with infinite variation, how you can get through life by enacting different styles of being week after week in different short stories.
And what styles are these? These are styles that emerge organically from the psychologies of the people playing them, and styles that, from a distance all look like “pulp fantasy” but, on further inspection, reveal shades of differences in tactics and role-playing that are really differences in outlook. And when you put these differences in outlook together in a crowded matrix of poorly-lit 10×10 rooms for a few months, you get drama. And comedy. And it’s all a surprise. And it’s fun."
http://dndwithpornstars.blogspot.com/2009/10/where-action-is-part-2-grognardia-jack.html
And what styles are these? These are styles that emerge organically from the psychologies of the people playing them, and styles that, from a distance all look like “pulp fantasy” but, on further inspection, reveal shades of differences in tactics and role-playing that are really differences in outlook. And when you put these differences in outlook together in a crowded matrix of poorly-lit 10×10 rooms for a few months, you get drama. And comedy. And it’s all a surprise. And it’s fun."
http://dndwithpornstars.blogspot.com/2009/10/where-action-is-part-2-grognardia-jack.html
You Enter A Tavern...
"Grand strategy," said the Chief Warlord of Gobwin Knob, "is not the same as military strategy, where you set your objectives and then prioritize them. Grand strategy is at the highest level, where you decide who you are as a side, and what you want your side to become. We sometimes call it 'national strategy,' in my world."
- Parson Gotti, Erfworld Book 3
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Hi. I'm Xavier and I live in San Francisco, California. I play all sorts of games but this blog is about Dungeons and Dragons mainly, and GMing, or Game Mastering table top roleplaying games. For the last three years I've been running D&D 5E with two core groups and a couple satellite groups. Outside of my hobby, I've worked in the console, web, and mobile game industry in various roles for 16 years, most recently at Zynga and LucasArts.
Recently I've been talking about a GM "Skill Share" where we essentially teach each other skills, tech, and shortcuts to make us better designers. This will be a stab at that. Hopefully in the long term this can be a shared blog with posts from various GMs about whatever topic interests them.
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