For my game, I like to draw battle maps of key locations in advance. I use gaming paper or easel pads marked with a 1-inch grid. When I copy an adventure map to a big sheet, I hate counting squares, but I’m too fussy to fudge and settle for close enough. My taste for precision makes winding caverns a particular nuisance. Sometimes I print map graphics as battle maps, but that requires more printer ink, cutting, and pasting than I want to lavish on a huge map. See How to print map graphics as battle maps using free software.
After my weekly group managed to end a session by alerting an entire dungeon, the next session promised a running battle spanning the site. I needed a big map. How could I draw it without wasting time counting squares and recreating that underground river? If only I could just trace a 50-by-50-inch map from my computer monitor.
Inspiration struck. I have a projector. And a wall.
Post-it Super Sticky Easel Pad, 25 x 30 Inches, 1-Inch Grid
How to draw adventure maps on 1″ grids without counting squares.
If the map includes a 5-foot-per-square grid, zoom the map image until the squares projected on the wall measure 1-inch across. Otherwise, zoom the map image until 5 feet on the map spans 1 inch on the wall.
Stick a gridded sheet on the wall so the squares on the sheet align with any squares on the projected map. If you want to stick the sheet with a long side up, use removable tape.
For me, this method proved far faster and easier than counting squares.
Off the wall
Once I finished the map, I cut it into sections that I could lay out as characters explored. Having pre-drawn maps increased the pace of the next game session. The missing gaps behind doors and around corners seemed to encourage players to scatter and open doors, escalating the mayhem of battle.
Before I wrote this post, I scoured the Internet for help encouraging Dungeons & Dragons players to role play.
Sometimes Dungeons & Dragons players tell me of a session where no one rolled a die because everyone role played for the entire night. Imagine this: On a flight to Los Angeles, I gain a free upgrade to first class, get seated next to Deborah Ann Woll, spend the flight talking D&D, show the wood-grained first printing I scored at a garage sale on the way to the airport, and then get invited to sit in a super-secret Hollywood D&D game. Later, my story of the day still couldn’t capture the rapturous tone of the folks who tell me about their sessions of pure role-playing.
We all know that acting in character adds fun, but role playing enhances D&D for everyone at the table. Role playing heightens the drama and the humor. It raises the stakes by making goals, successes, and setbacks personal. It fosters relationships between characters.
I’ve never reached the pure rush of a session focused entirely on role playing. Perhaps I just favor a balance of combat and exploration with role playing. Perhaps I’ve never played with a group who threw themselves into character with enough zeal. Nonetheless, stories of dice-free sessions fill me with a sense of inadequacy. Could my dungeon master skills lack some essential quality that nurtures role playing?
Ready to improve my game, I turned to my stack of gamemaster guides and then to the Internet for advice. How do I encourage players to role play?
In Internet discussions, lots of gamers ask this question. Most of the replies offer weak advice. Some of the older discussions had recommendations for things now baked into fifth-edition D&D: Encourage players to develop backgrounds, ideals, and flaws for their characters. Offer benefits such as inspiration for good role playing.
Beyond this sound but conventional advice, many DMs suggested ways to pressure uncomfortable or uninterested players to role play. Don’t do that. Other DMs require written descriptions of character backgrounds. To most folks, a writing assignment will make role playing seem like a chore. The players who do enjoy the homework need no encouragement.
How else can a dungeon master encourage role playing?
Create ties between characters
Traits, bonds, ideals, and flaws provide a foundation for role playing a character, but these aspects miss an essential ingredient: a character’s relationship to rest of the party. In any book or movie featuring an ensemble, their interactions create the humor and drama. The group’s interplay reveals their personalities. By inventing relationships between their characters, players gain a way to role play among themselves.
When starting a new group of characters, ask each player to invent a reason their character feels loyalty, friendship, or trust toward another character at the table. Both players must negotiate so the connection suits their characters. Every player should invent a new bond so most characters feel tied to two others.
In the official D&D podcast, Shelly Mazzanoble remembered this exercise. “It forced us to find each other, to interact with each other. ‘I want to be connected to you. Here’s our story.’”
For even stronger interaction, have players invent a source of friction between their character and another. Unlike the strong, positive bonds of trust and loyalty, make these notes of discord relatively mild, even humorous. They should foster amusing banter, not genuine rancor.
Portray non-player characters as you want players to portray their characters
As a dungeon master, you set the style of interaction at your table. To encourage role playing, make your non-player characters come alive by portraying their tone, mannerism, and speaking patterns.
Even if you struggle with character voices, body language can make NPCs come alive. “Your physicality can completely change a character without having to do silly voices,” Matt Mercer explained on the DM’s Deep Dive. “If they’re more of a sly character, steeple your finders and drop your shoulders a bit and just sort of be that sly sneaky character. If they’re a welcoming persona, put your palms up in front of you in a very open and welcoming position and smile. These are all things that you don’t have to have any performing experience to do, but it really makes a difference in embodying an NPC and changing how your players perceive them. Even if you just shift your physicality a little bit, you’re players will know that you’ve become a different character in that scene.”
Speech patterns also make NPCs distinct. Recently I played at a table run by DM Brittany, and the way she portrayed an older, male character struck me. After a relating each fantastic or tragic event in a long tale, she deadpanned, in character, “Well, that happens.” Without a silly voice, she made the character memorable and amusing.
Ask “How would your character say that?”
Don’t pressure players into character, but when they say they persuade, intimidate, or otherwise interact, invite them to show how their character acts. “Gently try and remind them to respond in character,” Matt Mercer suggests. “Like ‘Great, how would Dermans ask that question to me, the jailer?’ Or ‘Sure, and as those angry thoughts fill her mind, how would Layla express that verbally?’”
Single out specific characters for interaction
When the entire party participates in a role-playing scene, typically only one or two players participate. The rest watch. Sometimes players find themselves overshadowed by players with more forceful personalities. Singling out characters gives more players a solo. “Make direct eye contact,” Matt Mercer says. “Lean in and gesture, or point to them when asking a question of their character. Let them know that they are in the moment and that this is their moment to seize.”
Whenever you introduce NPCs, ask yourself if they would feel an affinity for a member of the party—especially one who deserves time in the spotlight. Perhaps the NPC and the character share a class, background, or allegiance. Have the NPC focus on the character who shares a kinship.
Your players develop characters with exciting qualities. Try introducing an NPC who appreciates one of these unique traits or who admires a character’s reputation. Such regard lends characters a sense of importance, keeps players engaged, and lets them bask in a little glory.
You can encourage more players to interact by making characters tackle separate role-playing scenes simultaneously. For instance, if the characters only need to gain the support of the head of the merchant council, then typically one player makes all the diplomacy rolls. If the characters must split up to convince every member of the merchant council before their vote, then every player must contribute.
Have non-player characters ask personal questions
Rather than limiting interaction to persuasion and intimidation, let your NPCs indulge in a little small talk. Personal questions feel especially natural from a character who admires or feels kinship toward someone in the party. On the official D&D podcast, Matt Colville suggests, “Have an NPC ask a player an introspective question like, ‘Why are you a adventurer?’ or, ‘Why did you become a paladin?’ There’s nowhere on your character sheet where you can find the answer. You’ve got to come up with the answer in your head. It’s often the first time the player has ever wondered those things.”
I’m still working to improve my game. How do you encourage players to role play?
Like every other kid who discovered Dungeons & Dragons in the late 70s, the Monster Manual suddenly became my favorite book. I studied the pages, and then turned to books of mythology to learn more about cyclopses, manticores, and harpies. But not all the monsters came from myth. Some started with Gary Gygax and other D&D contributors. Of these original monsters, Wizards of the Coast reserves the most evocative as part of D&D’s product identity:
The Original Beholder
The leap of imagination required for some monsters seems short. When Gary needed “something new” to populate the underworld, he imagined fish men and called them koa-toa. When Dave “Zeb” Cook needed memorable foes for an overgrown, forbidden city in the jungle, he made snake men called yuan-ti. D&D features a long history of frog men, but Charles Stross says a literal fever led him to imagine the extra-planar, chaotic slaad.
The gauth just offers a junior beholder to pit against lower-level adventurers. But where did the beholder come from?
Many of D&D’s classic monsters have better stories behind their inspiration.
One of D&D’s original players, Rob Kuntz eventually joined Gary Gygax as co-dungeon master in the Greyhawk campaign. Rob credits his brother Terry with a wild imagination and the idea for the beholder, originally called the eye of doom. Terry provided most of the game stats. Before the creature appeared in the Greyhawk supplement, Gary explained that “All I needed to do was a bit of editing to make it a great addition to the terrible monsters to be found in the D&D game.”
Bugbear, Ghoul and Friends
In the original D&D books, the bugbear sports a pumpkin head. Gary recalls describing the creature as having a fat, oval head like a pumpkin, which led the artist to draw an actual pumpkin head.
In the early days of D&D, Gary hosted games 7 days a week. During weekends, adventuring parties included as many as 20 players with their characters, hirelings, and henchmen. Rob Kuntz ran sessions too. All these expeditions delved the mega-dungeon under Castle Greyhawk. “When the encounter was eliminated I simply drew a line through it, and the place was empty for the foreseeable future. I’d give Rob the details of any session he was not at and vice versa.” Rather than imagining a dungeon piled with rotting corpses of monsters and adventurers, Gary conceived dungeon scavengers like the carrion crawler. “I needed something nasty for the clean-up crew, so I thought this one up.”
Cover by Gil Kane
Although Wizards includes the displacer beast in D&D’s product identity, the monster owes its appearance to an alien in the 1939 story “The Black Destroyer” by author A. E. Van Vogt. In the tale, a character describes a thing called a “coeurl” that looks like “a big cat, if you forget those tentacles sticking out from its shoulders, and make allowances for those monster forelegs.” The beast first appeared in the Greyhawk supplement, but the coeurl lacks the displacer beast’s defensive power. That power comes from the Displacer Cloak, which appeared in the original D&D books.
Mystery: The cloak and beast’s displacement power seems like a defense that Gary could have taken from a golden-age science fiction story. Did Gary invent the notion, or did he adopt it?
The first hint of dark elves comes in D&D’s fourth supplement, Gods, Demi-Gods and Heroes (1976), by James Ward and Rob Kuntz. “These elves dwell beneath the earth, and cause trouble for anyone wandering through their territories. They live and cause evil upon Svartalfheim.” Perhaps inspired by the mention, Gary offered more hints in the first Monster Manual. “The ‘Black Elves,’ or Drow, are only legend. They purportedly dwell deep beneath the surface in a strange subterranean realm. The Drow are said to be as dark as faeries are bright and as evil as the latter are good. Tales picture them as weak fighters but strong magic-users.” The word “drow” comes from Scots dialects and refers to a sort of malevolent being. Gary remembered pulling the name from an old, unabridged dictionary. In Descent into the Depths of the Earth (1978), the drow made their first appearance. Gary gave them powers “to highlight their unique nature and potency.”
Inspiration for the land kraken, but not the mind flayer
Gary credits the form of the mind flayer to the cover of the Brian Lumley book, The Borrowers Beneath. “The cover made me think: Now what sort of nasty bastard is that? So without a qualm I made up the Illithid, the dread mind flayer, so as to keep the players on their toes—or to have their PCs turn theirs upwards.”
Mystery: A few year back, this tale led me to search for the The Borrowers Beneath, and I found a cover featuring a humanoid, tentacle-faced creature that closely resembled a mind flayer. Now, the same search just reveals a cover of tentacles erupting from the ground and a few images of Cthulhu. But in another reminiscence, Gary said the cover that inspired him showed a humanoid creature. What cover actually inspired the mind flayer?
Although Wizards claims githyanki as part of D&D’s product identity, Game of Thrones author George R.R. Martin has a claim to them too. For D&D, science fiction author Charles Stross took the name githyanki and a bit of backstory from Martin’s SF novel Dying of the Light. “I’ve always felt slightly guilty about that,” Stross said. “Credit should be given where credit’s due.” Martin’s githyanki never develop beyond an unseen threat with limited intelligence. But like the D&D monsters, the originals were living, psychic weapons and former slaves of an alien race. Stross credits another legendary author with additional inspiration. “The Illithid/Githyanki relationship probably slid into my mind as a result of reading Larry Niven’sThe World of Ptavvs, which features a psionic master/slave race relationship far in the past that nearly killed all the sapients in the galaxy when it turned hot.”
Before D&D, Gary’s Chainmail games required miniatures. Back then, no one sold fantasy figures for gaming, so he improvised. He converted a plastic stegosaurus into a dragon. “I haunted the dime stores looking for potential additions and eventually found figures to represent ogres, elementals, etc.” Some of the improvised figures came from bags of assorted, plastic critters sold in those dime stores. The labels marked the toys as “Prehistoric Animals” but few resembled anything from natural history or even mythology. For pictures of the creatures and their packages, see a post by artist Tony DiTerlizzi.
When Gary’s gaming group switched to D&D, they stopped using miniatures, but the strange creatures remained as inspiration.
Gary and his fellow gamers probably never saw the Ultraman television show produced in Japan in 1966-1967, so they never knew the likely basis of the creatures. Most of the toys were knock offs of Kaiju, giant monsters from Japanese entertainment.
Inspiration for the Bulette toy probably came from the creature Gabora, which appeared in episode 9 of Ultraman, “Operation: Uranium.”
In the Greyhawk dungeons, the beast made a couple of cameo appearances, charging down a hall and bowling over adventurers. The players called it a landshark after its back fin and a current series of Saturday Night Live sketches where a “landshark” knocks on doors to deliver a “candygram.”
When editor Tim Kask needed content to fill a page in the first issue of The Dragon, Gary told Tim to write stats for the landshark. The name puts a French spin on the creature’s bullet shape. As for the monster’s appetite for halflings and their ponies, Tim was showing a bit of spite for players who always played hobbits and favored ponies named Bill.
Ultraman episode 7, “The Blue Stone of Vallarge,” featured another burrower named “Antlar.” A knock off toy for this Kaiju probably led Gary to devise the umber hulk. The creature’s crude, insectile eyes inspired the monster’s signature confusing gaze.
Some have tried to find a Kaiju that resembles the owlbear toy, but even the closest match takes blurred vision and a big leap of imagination. The toy’s bowl-shaped hair stands out as its most distinctive feature. As badly as the toy resembles an owl or a bear, it also badly resembles a Kappa from Japanese mythology.
Owlbear Toy and Kappa by Toriyama Sekien
No creature resembles its dime-store inspiration more than the rust monster. The toy lacks teeth and claws, so when Gary made it a monster, he needed another way to menace adventurers. In the original game, powerful undead drained “life energy levels” when they hit. Life draining terrorized players, and Gary saw the power as a test for clerics, ranged attackers, and players too reckless to run. “I don’t agree with those wimpy whiners who are afraid of a few living dead,” he teased. The toy’s tentacles led Gary to imagine a way to threaten something players prized even more than their levels—their magic weapons and armor.
Mystery: Of all the toys, the rust monster ranks as the oddest. How did a four-legged bug with a propeller tail wind up bagged with kaiju and mythological creatures? Did a Hong Kong designer aim for pure whimsy or imitate some other creature?