Category Archives: Advice

Filling a map with Dungeons & Dragons adventure

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When the first Dungeons & Dragons players wanted a break from the dungeon, their characters could explore the wilderness “in search of some legendary treasure.” In original D&D, a quarter of finds on the magical treasure tables consisted of treasure maps. Surely some led to those legendary treasures available in the wild.

For wilderness adventures, Gary Gygax recommended adopting the hex map from the Outdoor Survival board game and replacing the catch basins with castles. “The terrain beyond the immediate surroundings of the dungeon area should be unknown to all but the referee.” Players started with a blank map, and charted the terrain as they moved. Mainly, they met wandering monsters, but castles worked as penalty squares. Lords and Patriarchs demanded tolls and tithes. Magic users would cast Geas to compel trespassers to bring treasure.

Back then, even aimless wandering and senseless fights felt bold and fresh. Now, computer games can deliver random monsters with better graphics. At the table, exploration-based D&D sessions need maps stocked with potential adventure.

Seed opportunities

In How to Start a Sandbox Campaign, I explained how a dungeon master must arm new characters with enough knowledge for players to chose a direction that suits their goals. In his influential West Marches campaign, Ben Robbins never started players empty handed. “Every time I introduced a batch of new players, I gave them a very basic treasure map that vaguely pointed to somewhere in the West Marches and then let them go look for it.”

As exploration continues, characters must keep finding things that suggest their next destination.

“A good sandbox has scenario hooks hanging all over the place,” Justin Alexander explains. “The successful sandbox will not only be festooned with scenario hooks, it will also feature some form of default action that can be used to deliver more hooks if the players find themselves bereft of interesting options.” Players should know that something like buying a round of drinks at the inn will lead to rumors, and that patrons always seek adventurers for hire.

In the original game, all those treasure maps worked as hooks for every character. In a modern campaign, characters can adopt many goals, so the hooks either help players toward the campaign’s ultimate goal or to appeal to characters’ individual interests.

Here, the sandbox portion of Storm King’s Thunder fell flat. Once the adventure showed the menace of the giants, it left characters with no clear way to meet the threat. Instead, the characters could only run errands until they reached the adventure’s true start. The errands suffered from such weak hooks that DMs either needed to completely rework them or to face players dutifully following a course because the adventure expected it.

Open worlds offer freedom, but if players only ever face one hook at a time, they never feel that liberty. During each session, characters need to uncover more than one possibility for their next foray.

Connect the dots

In an open world, the connections between locations, non-player characters, and factions become as important as their place on the map. Characters rarely just wander. Rumors and other bits of information draw them from place to place. When players need information to guide them toward their characters’ aims, the secrets they learn can prove as rewarding as gold.

To start exploring, players need some information to make their choices interesting. By the time they learn the fate of the last doomed expedition and find that lost city on the plateau, they need new clues to investigate and new mysteries to unravel.

When you devise an open world, spend more time inventing connections than drawing terrain. The connections could range from alliances and rivalries, to rumors and clues that link locations on a map to others. Chris Kutalik makes such connections a big focus of his Hill Cantons campaign. “Each site’s mystery or theme has to have a connection with either another site’s or a larger setting one.”

Reveal secrets

Mike “Sly Flourish” Shea offers advice for sowing information that helps players “build out the story as they choose courses of actions.” He calls these tidbits secrets.

“A secret is a piece of information previously unknown to the PCs that, when revealed, gives them a tweet-sized bit of useful and interesting information. Secrets aren’t an entire story. They’re not complete pictures. They’re a single point of data in a large pool of undiscovered information.” Before a game session, Mike creates a pool of 10 secrets. During the game, characters uncover some of the secrets. He improvises the details of when and how characters uncover the secrets.

Secrets enhance an exploration game’s strength: the joy of freedom and discovery.

Secrets reward players with something more interesting than learning that the next hex contains forest.

Unlike full hooks, secrets give players more latitude to follow the threads that spark interest. “We don’t use secrets to steer the direction of the PCs. We use secrets to give them interesting information that helps them come up with their own directions.”

Include many chances for interaction

In D&D’s original rules for wilderness adventure, most encounters ended in fight or flight. Today, wilderness adventures still tend to emphasize D&D’s combat and exploration pillars, even though 60% of D&D players enjoy interaction the most.

In Game of Thrones, the lands beyond the wall give George R.R. Martin plenty of chances for exciting battles and exploration. But when members of the Night’s Watch range beyond the wall, Martin devotes as much attention to visits to Craster’s Keep. The keep offers chances for interaction and to explore character.

Your sandbox needs non-player characters that run the gamut from friend to foe. Friends rarely challenge characters and foes tend to die, so NPCs in the middle foster the most interesting interaction. For example, Craster offers an indispensable ally who happens to be morally offensive. Plus his daughter-wives present a dangerous temptation to the men in black.

Perfect opportunities for interaction come from NPCs or groups either too dangerous or too useful to murder, who pursue goals that don’t always align with the players’ aims.

How to Start a Sandbox Campaign

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Dungeons & Dragons players don’t love sandbox adventures as much as they think, but such adventures can still offer fun. After I took aim at sandbox adventures, some dungeon masters running thriving open-world campaigns offered counterpoints. Michael S has run such a campaign for 9 years, outlasting the West Marches campaign that inspired him by 7 years.

Sandboxes can work. This post and my next will reveal the secrets. Once you read all these requirements, you may decide a fully-realized sandbox demands more time and energy than you can spare. Michael’s “crazy” world uses a database just to track NPCs and a “big” wiki for bookkeeping. (Of course, rather than filling your sandbox in advance, you can cheat. More on that next time.)

The hardcover adventures published for 5th edition have all tried to include some of the freedom of sandbox adventures. None of the hardcovers check all the requirements on this list. If the hardcovers proved frustrating to run, the missing requirements explain why. If they played fine for you, then you, as a good DM, improvised and reworked to fill in the gaps. You may have enjoyed the extra effort or, like me, you may have done it reluctantly. I have a D&D blog to write.

The sandbox archetype casts characters as explorers on the verge of a unmapped frontier, perhaps the shore of The Isle of Dread or descending from the Yawning Portal into the Undermountain megadungeon. When Out of the Abyss stranded the party in the Underdark, the hardcover followed the exploration model. The authors of the other hardcover adventures touted sandbox-like design, which ranged from player-led tours of the Sword Coast to simply including dungeons that could be visited in different orders.

My advice starts with this exploration model in mind, but these requirements apply to campaigns that stray from the prototype.

Set long-term aims

In the sandbox archetype, players start with a incomplete hex map like the ones in The Isle of Dread or Tomb of Annihilation and explore to fill the blanks. Such games can become unsatisfying grinds. The Angry GM explains, “The only rewarding part of the exploration is when you actually find anything. And the vast majority of the hexes have nothing to find. There is nothing interesting about yet another forest of hexes. And random encounters—dinosaurs waiting to jump out of the forest and kill you—are interesting, but they are the painful, dangerous kind of interesting. That’s not a reward.”

The 5E hardcovers all avoid this pitfall by setting a campaign objective from the start. In Tomb of Annihilation, players seek the source of a world-spanning curse. In Out of the Abyss, players explore to find an escape from the Underdark. The other adventures reveal some overarching menace in the opening scene.

Most players want to aim for an ultimate campaign goal. Throughout the game, they want clear options that take them closer to achieving their long-term aim. In Curse of Strahd, the players start far from defeating Strahd, but they can explore Barovia and gather the magic items they will need.

Not every campaign leads to some ultimate villain. Instead, for instance, a party could aim to find a lost heir and put her on the throne.

D&D adventures either set an ultimate goal for characters or assume they quest for treasure. (An adventure that omits any goal becomes a campaign setting.) Players seldom mind adopting a goal so long as they get to do D&D things like collecting treasure and smiting evil. When I ran Murder in Balder’s Gate though, my players rebelled. The adventure assumed characters would support one of three patrons who vied for power. The patrons start unsavory and, as they gain power, become worse. My players wanted no part of it. My Murder In Baldur’s Gate became something entirely different from the book.

If you introduce a long-term aim before character generation, your players can craft characters tied to a chosen aim. For example, Princes of the Apocalypse suggested players tie their character to an adventure-specific hook.

In a homebrew campaign, you start with the players’ characters and invent a long-term aim just for them. Perhaps a someone wants to play a member of a hiding royal family. Who can say how close she is to the lost heir?

Give enough information to start

Imagine a party shipwrecked on the coast of a lost continent. If they know nothing, they can only trudge inland and explore aimlessly. Perhaps a wandering monster will interrupt the drudgery.

Robert Conley’s Bat in the Attic blog focuses on sandbox play. He writes, “Picking one of the six surrounding blank hexes is not a choice with meaning. So work on the initial situation so that it is interesting and give the players enough information to make some valid decision of what to do.”

If that shipwrecked party has an explorer’s letter, a ciphered treasure map, rumors a lost city on a plateau, and so on, then the group knows enough to plot a course. Once you tie the lore into the characters’ goals, the clues will inspire action. Remember though, if you give one player a clue, they might not share it. Spread any secrets that you need players to share.

You can also launch a sandbox with a conventional adventure that starts with a patron in a bar. No one said your campaign requires a consistent model.

Out of the Abyss launched the characters’ explorations by pairing them with Underdark natives to serve as guides. See The surprising benefits of giving an adventuring party a guide.

Next: Running a sandbox campaign

Why Dungeons & Dragons Players Don’t Love Sandboxes as Much as They Think

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Many role-playing gamers set sandbox adventures as an ideal. We all agree that railroads make bad adventures, so do sandboxes offer all the virtues that railroads lack?

In role-playing adventures, sandboxes and railroads fall on ends of a spectrum. Railroads offer players no options. Sandboxes allow complete freedom, including freedom to choose a goal. If a character favors a bartending in Barovia over vampire hunting, they still get a place in the campaign.

Boxes of sand let kids choose their own goals. They can make sand castles, bake sand cakes, anything. And when they grow up, they can stage miniature battles.

Some games deliver all the freedom of a box of sand. Minecraft lets you play a survival game, but it owes its success to all the other things you can do: Some players build forts or replicas of the seven wonders. Some create a circuits from redstone. Players make their own goal.

D&D used to force a goal on characters

Original Dungeons & Dragons never started as pure sandbox, because the rules included a goal: Take treasure from dungeons and the wilderness. By rule, characters who won treasure gained experience and power. They won D&D. See The fun and realism of unrealistically awarding experience points for gold.

When the original D&D characters reached high, name level, the game turned into a sandbox where players chose a new goal for their characters. Stronghold building offered fighting men an obvious goal, but some other classes lacked anything as clear. What do you want for your bard or druid? Should a wizard build a tower or start a school? Apparently, many high-level wizards go mad and build dungeons. Where else could the living-chess puzzles and reverse-gravity rooms come from? Endless possibilities await!

Instead of embracing the freedom of a high-level sandbox, players returned to dungeons.

Sandboxes can overwhelm players with choices

In Why Dungeons & Dragons (and Role Playing) Took Years to Leave the Dungeon and How the dungeon crawl’s advantages propelled Dungeons & Dragons to success, I described the attraction of dungeons. Among other advantages, dungeons limit the characters’ options. This doesn’t just help dungeon masters prepare, it helps players.

Common wisdom suggests there is no such thing as too many choices, but psychologists conclude that people flooded with options become paralyzed by them.

When dungeon masters offer a true sandbox and come willing to improvise any course their players choose, they confound players. Once the players stop wondering what they’re supposed to do, they struggle to choose from boundless possibilities. Whatever they finally decide, they leave the table with a nagging feeling that they chose wrong.

The value of limited options

In D&D, dungeons, patrons, and hooks all limit the options that players’ face. Such tropes give players direction. A little direction improves the game.

Make no mistake. Players still want options. Every game session should leave players wondering what might have happened if they followed a different course. Mike “Sly Flourish” Shea recommends that giving players three plus infinite choices. DMs should offer three known options that take characters closer to their goal, while being open to anything players want to try.

Many sources of DM advice suggest seeding a sandbox setting with hooks—opportunities for players to land in stories of their choosing. Exactly. Those hooks help players narrow all the options of an open world to a sweet spot of three plus infinite choices. They nudge the game a bit closer to the railroad end of the dial. Some railroad-phobics might even argue that such hooks show a DM working too hard to push players through a story. Their ideal game only works with perfectly spherical, frictionless players. The real players at your table want hooks.

The sandbox dungeon

D&D’s mega-dungeons limited players’ choices, but many fans still tout multi-level dungeons as sandboxes. Sure, characters need to adopt the goal of seeking treasure, but they never need to dutifully follow a story arc planned by a DM. Plus, players could chose a difficulty level by deciding how deep they dared to delve. A few D&D players still favor that style of play.

Embracing story and fewer options

Despite the freedom of a dungeon sandbox, most D&D players craved story and deeper motivations. The D&D game changed to provide. When Tracy and Laura Hickman penned a series of classic modules including Ravenloft and the Desert of Desolation trilogy, they led the change. Their introduction to a self-published version of Pharoah gives D&D adventures four, new requirements:

  1. A player objective more worthwhile than pillaging and killing.
  2. An intriguing story that is intricately woven into the play itself.
  3. Dungeons with some sort of architectural sense.
  4. An attainable and honorable end within one or two sessions of playing time.

When characters explore Castle Ravenloft, they quest for more than loot. They aim to free the land from the menace of Lord Strahd. Adopting the goal of a story takes a measure of freedom from players. Now the their options narrow to the choices that lead to the magic items that will help defeat Strahd. Few players mind. They see clear options that take them closer to achieving their characters’ aims. As the adventure progresses, the players’ paths narrow to a railroad that leads to a final confrontation.

Of course, at any time, the characters could leave the railroad and open a tavern in Barovia, but that never happens. Partly because D&D players like doing D&D things such as smiting evil and winning treasure. Partly because players follow D&D’s social contract by honoring the DM’s preparation. Mostly because players enjoy stories in D&D and they willingly abandon the freedom of a sandbox to foster them.

Too often, D&D fans tout sandboxes as the pinnacle of adventure design. Dungeon masters and adventure authors aim for the freedom of a sandbox, but just leave players feeling adrift. Players enjoy D&D most when they see a few, clear options that take them closer to achieving their characters’ aims.

Four Essential Qualities of a 4-Hour Dungeons & Dragons Adventure

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Running adventures by other authors has raised my Dungeons & Dragons game. As a dungeon master for organized play, I have prepared adventures that seemed like duds. Sometimes, at the table, I followed an author’s script and saw that their adventure worked despite my concerns. When I had little experience with adventures other than my own dungeons, I found lots of pleasant surprises. I learned a lot.

Those surprises happen less often now. I feel confident judging which 4 elements I always want in something like a 4-hour Adventurers League session.

I have the voice of authority to back me up. The book Heroic Worlds: A History and Guide to Role-Playing Games by Lawrence Schick includes a list of adventure tips from legendary designer Jennell Jaquays. Goodman Games publisher Joseph Goodman listed advice for penning a good adventures to accompany How to Write Adventures that Don’t Suck. This post features select tips from the experts’ lists. Believe them.

All 4 qualities in my list resist easy adjustments at the table. This post’s draft included, “Give it the villains a fighting chance,” but I cut it. If an adventure puts a beholder in a tiny room where the heroes can make it into a piñata, I can adjust at the table. If an adventure fails to include a variety of challenges, only a rewrite will help.

In every 4-hour adventure, I want 4 qualities:

1. A variety of challenges. This ranks as my number 1 by a wide margin. Typical D&D groups bring varied tastes, and few players like 4 hours of the same. Any session should include (1) a social scene, (2) a combat encounter, and either (3a) a thinking problem or (3b) a secret to investigate.

To qualify, the social scene must start with a goal and pose an obstacle. See How to Use Scenes and Summaries to Focus on the Best Parts of a Role-Playing Adventure. Social scenes that dump purposeless characters into a banquet or marketplace confound most players.

“Make sure some role-playing interaction with other sentient beings is necessary for success.” – Jaquays

A typical 4-hour adventure features two or three battles, and I like variety in the combat encounters. When I ran the D&D Encounters program and saw the adventure for a new season, I eagerly scanned the pages, noting which monsters would appear. A variety of foes excited me. (I remain easily amused.)

At Gen Con 2017, I ran adventures set on the streets of Hillsfar. Typically, city adventures suffer from recurrent fights against thugs, thieves, and assassins. Same fight, different alley. The authors of this Hillsfar series imagined ways to pit players against a variety of monsters, and that made me happy.

“Pace it well. Long, tiresome combats should be followed by quick rooms. Thought-provoking puzzles should be followed by bloodbaths. Slow, trap-filled hallways should be followed by a rousing fight.” – Goodman

2. A fast start. When players sit for an organized-play adventure, their characters land in the the adventure too. I like adventures that speed through the chore of getting the characters to agree to the mission their players already accepted. DDEX03-14 Death on the Wall by Greg Marks includes a favorite hook: Someone fleeing pursuit dumps a pack containing a message on the characters. Bang! We’re off!

“Always begin a new adventure with action: a fight, a chase, a breathtaking escape, a witnessed crime, and so on.” – Jaquays

Nothing vexes me more than an adventure that challenges players to uncover the secret of their goal for the adventure.

Most organized-play adventure hooks should also promise a reward in gold early on. Not all characters aim to do good or to seek adventure. Players will take adventures without seeing the rewards ahead, but on behalf of their characters, they still wonder why are we doing this?

“Maintain a ‘cut to the chase’ feeling—start with a bang and get to the action fast.” – Goodman

Some critics argue that starting an adventure with a fight ranks as a cliché. Ignore them. For many D&D players, the game only starts when they start rolling dice. At my weekly D&D game, the kids can sit without a battle, but at least one parent pines for action. (Not me. Well, not just me.)

3. A choice. Players accept that a 4-hour time limit leaves no room for open worlds, but when an adventure shunts the party through a fixed sequence of scenes, players notice—and they grumble. Every adventure should feature an option that leaves players wondering what would have happened if we had….

I love DDEX2-13 The Howling Void by Teos Abadia and DDEX03-15 Szith Morcane Unbound by Robert Adducci for offering players unusual freedom. Both also demand more from a DM than a typical session. Some overwhelmed convention DMs bridle at the prospect of prepping many encounters that may not occur.

In practice, just a couple of choices satisfy players. But avoid false choices that could lead to the same scene. Players should know enough about their options to expect a different outcome from each possibility. See Illusionism: if player choices seem to matter, does it matter if they don’t?

4. A dash of the fantastic. In D&D, authors sometimes reserve the mind-bending fantasy for high-level characters. But I like every adventure—even that 1st-level strike against bandits—to include a fantastic element. Have the goblins uncovered some lost bit of magic that lets them do something wondrous?

I remember a D&D adventure that relied on a bomb as a threat, and how that made me sad. In the fantastic world of D&D, could the most interesting threat really be a bomb? I turned the bomb into a magical box that opened a door to the spirit world and lured vengeful souls onto the material plane.

Not all the fantastic elements need to be dangerous or useful. Interesting trinkets and strange phenomena can create the same wonder. The magic fountain feels tired by now, but you can create fresh wonders that put enhantment into your world.

“Convey a sense of the fantastic. Convey this through encounters, descriptions, and most importantly, magic. The fantastic is what makes D&D so much fun, and that has to come across in the adventure.” – Goodman

What Could be Better than Wandering Monsters?

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In a D&D game without time pressure, all the risk and adventure disappear. Players gain time for painstaking caution. After every 5-minute adventuring day, characters can recuperate. As locked doors fall to axes and walls fall to picks, dungeon obstacles disappear.

Every adventure needs a source of time pressure. In the original D&D game, time pressure came from the threat of wandering monsters. But wandering monsters suffer drawbacks. The threat of wandering monsters speeds the game, but a random fight against 1d4 basilisks just stalls the narrative. See Time Pressure, Wandering Monsters, and D&D’s Social Contract.

As D&D matured, characters found bigger goals than “loot the dungeon.” Dungeon masters gained another source of time pressure: A race against time or against enemies. Escape the Hidden Shrine before poison gas chokes you. Retrieve the Rod of Seven Parts before rivals. Chase a crazed Derro through tunnels. Slay a giant lord before reinforcements arrive.

In the best adventures, whenever players consider whether they can rest, they must weigh the cost of stopping. But when a goal takes days or weeks to achieve, little of that urgency drives the characters in the dungeon. When characters face months campaigning against evil, a little extra time in the dungeon hardly matters.

How can a dungeon master make dungeon adventures feel tense and active? In this post, I share 4 classic techniques. Then I tell a secret: the lazy way to make stopping in a dungeon feel like a risk.

Make random encounters better

Not every dungeon brings the urgency of poison gas or a midnight summoning. Sometimes players just need to feel that every moment they delay brings a risk of attack.

For random encounters to shape behavior, the players need to understand the danger of standing still. In You Roll for Random Encounters Wrong (And So Do I), I recommend explaining the risk of random encounters, and then making the rolls in plain sight. If you track time, keep the tally in view too. Check off the hours, 10 minutes at a time, on the squares of your battle mat. Seeing the time advance will inspire players to keep a steady advance.

Wandering monsters in G1 Steading of the Hill Giant Chief

Gary Gygax’s first adventure in print, Steading of the Hill Giant Chief (1978) hints at some other ways to improve wandering monsters.

  • Reduce the frequency. In original D&D, monsters had a 1 in 6 chance of appearing every 10 minutes, but Gary’s published adventured kept lowering the frequency. The fifth-edition Dungeon Master’s Guide suggests rolling every hour and starting an encounter on a d20 roll of 18 or higher.
  • Make the monsters fit the location. Bigger dungeons tend to feature areas ruled by factions and areas that fit a theme. Random encounters should fit the neighborhood.
  • Give monsters a reason to wander. Gary said that good modules should have a reason for everything. When monsters have a purpose, you can imagine how they react, what they carry, and other things that make them more interesting than 4d4 orcs. Most importantly, the dungeon stops feeling random and starts feeling like a place where things happen even when no adventurers see.

Prepare random encounters in advance

Random encounters work better when you prepare them in advance because you gain time to embellish them. At the table, roll to see whether an encounter occurs, but then use a prepared encounter.

When you run a published adventure with encounter tables, you can roll in advance or just pick your favorite to prepare. Then decide why the monsters wander and think what they carry and how they will act. See Create better encounters by considering what your monsters want. Consider taking treasure, a clue, or a story element from another part of the dungeon and assigning it to the wanderer.

If you create your own adventure, skip random encounter tables. Prepare one wandering encounter per area. If your hourly roll prompts a random encounter, use the one you prepared.

Real time pressure

In 1975, GaryGygax brought Tomb of Horrors to the Origins convention to serve as a tournament adventure. Teams of 15 players (!) competed to thwart Acererak’s deathtrap. Despite the tomb’s lack of wandering monsters, a 4-hour time slot turned the adventure into a race against time. Since then, real time limits provide the most exciting source of time pressure. Players need to do more than press ahead; they must play quickly. Real time pressure makes the D&D Open so thrilling. Real time limits fuel the best multi-table Epic adventures. I love these games, but they feature players racing for high scores or for glory against other tables. Can a real time limit work when a table plays alone? Today’s players would expect their DM to adjust an adventure to fit the time. I doubt one table could match the urgency of a competition.

Beyond wandering monsters

DMs tend to run dungeons as static places where nothing happens until the characters reach a keyed location. I’m as guilty as anyone. The players deserve most of our attention, leaving little thought for the monsters lurking in other rooms.

Despite our tendencies, dungeons play best when players feel at risk even when they stand still. Not every dungeon relies on wandering monsters to create this feeling.

Organized resistance

Some dungeons feature organized resistance. When adventurers arrive, factions of monsters can sound an alert and organize a defense. Parties that stand still come under siege.

While exciting, such dungeons challenge DMs. To manage the resistance, we must remember the monsters in a faction, their locations, and figure their responses to the players. I run these adventures by marking the monsters and locations on the dungeon map. Without such a reference, my evil pets wouldn’t stand a chance.

Scheduled movements

Map showing my notes for an organized resistance to a party entering from 1

In dungeons like the Sacred Stone Monastery in Princes of the Apocalypse, the monks eat meals, perform training, and so on according to a daily schedule described in the key. In theory, a DM should somehow account for the time of day and the denizens’ movements. (All creatures in dungeons are denizens. Only Gary knew why.) I admire the ambition of such dungeons, but never bother paying much attention to the schedule. In practice, the monks could gather in the shrine at dusk, or they could just happen to be in the shrine when characters arrive. No player will notice the difference.

The lazy way to pressure dungeon explorers

Let me share a secret: Even if your dungeon lacks organized resistance, and you skip wandering monsters, and you never track scheduled movements, you can still make stopping feel perilous.

To make players feel at risk even when they stop, attack them sometimes when they stop.

Players grow accustomed to dungeons where nothing happens until characters enter a new location. An occasional attack that breaks this pattern makes players realize the dungeon isn’t a safe place to linger. Plus the dungeon and it’s denizens will seem active—a place where things happen beyond the characters’ current location. These sorts of encounters contribute to immersion.

When you devise a dungeon, plan an unkeyed encounter or two that fits the theme.

Sometime as the characters stop to search, investigate, or collect treasure, start the encounter. Have monsters enter from a direction that fits the logic of the place. Perhaps the monsters sneak in for a surprise attack. Perhaps the monsters stumble on the characters.

I find the notion of monsters busting in on the heroes for a change appealing. With the characters scattered around the room, such reversals create unusual, and fun, tactical situations.

In published adventures, you can create similar encounters by just pulling the monsters from a location until after the characters arrive. Pick a room with monsters and some interesting features that might occupy the players’ time. Then assume the monsters have temporarily left the room. As the characters interact with the fountain or the bookcase, the monsters return.

Suddenly nothing in the dungeon feels safe. That’s how I like my underground deathtraps.

Three Traits that Good Dungeon Masters Need to Shine in Convention Games

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At game conventions, I like to wander the Dungeons & Dragons game tables, watching dungeon masters in action. I see plenty of skills worth copying. Nearly all DMs bring enough from their home games to run a fun session. But sometimes I see weaknesses too. All of us have areas to improve. By far, the most common flaws stem from traits seldom practiced at a kitchen table or at a friendly little game store. Convention games demand extra skills.

Project your voice. At home, you can look down at your papers while speaking like a golf announcer. At a convention, the din of 50 tables means conversational speaking gets lost. Players feel reluctant to stall the game, so they rarely ask you to repeat. Tim Kask, the first editor of The Dragon, played his first D&D game at Gen Con in 1974. He only heard half what the DM said, so he felt “completely bewildered.” Today’s players react the same way. They sit politely, lost and hoping to catch up. At a convention, look at the players as you speak, and then project your voice to the next table over. When I DM, I like to take the seat nearest to the wall so players facing me don’t hear extra noise from a table behind me. It can’t hurt.

Own the adventure. At a convention, most DMs work from an adventure written by another author. We probably don’t even get to choose which adventures we run.

A few dungeon masters muddle through such adventures with the enthusiasm they would bring to reading assembly instructions to someone with a screwdriver. Perhaps they apologize for aspects they don’t like, or share a monologue on their interpretation of the text, or meditate aloud on a non-player character’s motives. Stop that. When you run another author’s work, adopt it and find a way to love it as your own. If you need to make a few tweaks, then make them, but keep the adventure’s essentials intact. Some of the fun of organized play comes from sharing a common experience with folks who played the same adventures as you.

For an example of how I tweaked an adventure to suit me, see Running Shackles of Blood: Making the good adventure into a great session.

Fill the available time with a beginning, a middle, and an end. When I DM convention games, I often check my watch. I worry that players might suspect I have somewhere I would rather be, but really I’m tracking our progress. When folks sit down for a convention game, they want to experience a beginning, a middle, and an end. Also, they paid about $10 for the slot, so they want the game to fill most of the time.

To pace a convention adventure, you must estimate how long the finale will take. As you play through the middle, if scenes run long, plan short cuts that can take the characters to the end. Perhaps this means the players reach the final scene without meeting every challenge in the adventure. Or maybe the monsters in a drawn-out combat suddenly have 1 hit point. See How to end combat encounters before they become a grind.

In episode 3 of the DM’s Deep Dive podcast,  Shawn Merwin gives more advice on pacing D&D under time constraints. For the story of my struggle stretching a 2-hour adventure into a 4-hour slot, see What Murder in Balur’s Gate Taught Me About Engaging Players in Role Playing.

If you ever DM in public, mind your volume, enthusiasm, and the clock. All three skills come more from attention than from special expertise. These three small additions to your game will let your players see the talent you bring to your home game.

Challenging Your Players’ Skill Without Risking Frustration

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The Zork II computer game from 1981 includes a locked door that you can open by solving a clever puzzle. The door has the old-fashioned sort of lock that lets you look through the keyhole and see the other side. Except here, the key is in the other side of the lock. You slide a mat under the door, and then poke the key out onto the mat. When you pull the mat back, you have the key.Zork II Box Art

Back when Dungeons & Dragons consisted of the original brown box, before skills, before rogues, before thieves, all the obstacles in the game invited that style of play. You overcame obstacles by immersing yourself in the game world, making decisions, and problem solving. See A Lack of Ability Checks Shaped How People Originally Played Dungeons & Dragons.

This style of play suffers from the same problem as the puzzle in Zork. When Zork II came out, I had only ever seen that sort of old-fashioned lock in my grandma’s house. And if you’ve never examined that kind of lock, the door puzzle simply leaves you stuck and frustrated.

In the old computer adventure games, when you became stuck and frustrated, you had to send money for a hint sheet, and then wait for it to arrive in the mail.

Fourth edition attempted to eliminate such frustration by emphasizing skill checks and skill challenges over concrete obstacles and over players’ problem solving skills. During this era, Dungeon magazine’s submission guidelines warned authors to create challenges for the characters, not the players. When every obstacle has a DC and multiple skills, then no one gets frustrated. If you find a locked door, you can pick the lock with Thievery, or break the door with Athletics.

No one gets frustrated, but no one feels engaged either. When the game only challenges character skill, the players never need to make meaningful decisions or engage the game world. They just look at their character sheet for the best applicable skill. This improves on playing guess-the-solution-I-thought-of with an inflexible DM, but the picking a skill and rolling is less fun than D&D can be.

The fourth-edition designers must have know this, but they emphasized selecting skills and rolling outcomes for a two reasons:

  • To add weight to the choices players make when they build characters. See The Pros and Cons of D&D’s Ability Checks.
  • To prevent inflexible DMs from hurting the game. Fourth-edition designer Stephen Radney-MacFarland wrote, “In the early days, DMs all too often felt compelled to demonstrate their cleverness and punish players for making ‘wrong’ choices—even a choice as simple and random as which passage to explore.”

Such inflexible, punitive DMs neared extinction decades ago. When Mike “Sly Flourish” Shea asked players to cite the traits of a good DM, flexible ranked first.

Dungeon masters can challenge players without risking player frustration, because DMs can allow creative solutions.

Have you ever noticed how the Tomb of Horrors makes the demi-lich only vulnerable to a short list of curiously-specific attacks?

The demi-lich Acererak’s skull can be harmed only as follows:

      • a forget spell will force the skull to sink down without taking a soul
      • a shatter spell thrown at it inflicts 10 h.p. of damage
      • a power word, kill pronounced from the an astral or ethereal magic-user will destroy it.
      • only a fighter with a vorpal blade, a ranger with a sword of sharpness +5, or a vorpal weapon, or a paladin with the like or even a +4 weapon can inflict damage on the skull
      • an exorcise spell will cause it to sink as a forget does
      • a dispel evil spell inflicts 5 h.p. of damage
      • a holy word pronounced against it will inflict 20 h.p. of damage
      • a thief slinging one of the large gems in the crypt will inflict 1 h.p. of damage per 10,00 g.p. of value, i.e. 1, 5,, or 10 h.p. of damage, but the gem is thereby shattered

A power word, kill does nothing, unless you happen to be ethereal or astral! How would anyone think of that? Also, the demi-lich is vulnerable to the destruction of very expensive gems. That messes with the players in the best(?) old-school tradition. Only someone immersed in that tradition would even consider the gem attack.

Once, I thought that this list exposed Gary Gygax as an inflexible DM working to punish players. After all, he devised the tomb to challenge—and frustrate—those “fans who boasted of having mighty PCs able to best any challenge offered by the AD&D game.”

Now, I see the list differently. I suspect Gary created Acererak with no vulnerabilities in mind, but as he ran the adventure, players invented attacks. If Gary judged them reasonable, he allowed them to work. When Gary wrote the adventure for publication, he listed the attacks he had allowed so far.

Gary Gygax had the wisdom to allow a creative solution. In the Foreword to Return to the Tomb of Horrors, Gary wrote, “In one tournament use of the setting, a team managed to triumph by using the crown and scepter found earlier as the ultimate tool against the demilich. As Acererak’s skull levitated, one PC set said crown firmly upon the bony pate; another tapped the regal adornment with the ‘wrong’ end of the scepter. Poof! Scratch one demilich, and give the tournament’s first place to the innovative team of players who thought of this novel solution. Russ Stambaugh, the DM for the group, was stunned. ‘Could that work?’ he asked. I shrugged, admitted I certainly hadn’t thought of it and that it was a stroke of genius that deserved a reward.”

When I DM, I love to be surprised. One of the great joys of being a DM is crafting some trap or obstacle, leaving a couple ways to overcome it, and then watching as the players crack the problem with a third way. I’ve run campaigns for groups who proved so good at coming up with unexpected solutions, that I stopped worrying about planning any solutions. I just sat back and watched the players come of with something.

I have three bits of advice for refereeing game-world obstacles that demand player skill to overcome.

  • Watch the players for signs of frustration. Be prepared to let he characters uncover a new clue, or to just have something on the other side of that locked door come and open it.
  • It’s good to say yes, but avoid being too quick to accept implausible solutions. If a couple of players are deeply engaged in a predicament, and you allow any dumb idea to work, they just get annoyed. The last thing you want is a player arguing that something you allowed should fail.
  • Watch out for clever, repeatable ideas that break the game. I remember a player who regaled me with a story that he remembered fondly. His party defeated a dragon by enclosing it in a wall of force shaped like a giant fishbowl, complete with an opening on top too small for escape. Next, they created water above the opening, filling the fishbowl and drowning the dragon. I suspect that no version of Wall of Force ever actually allowed such shenanigans, but as a one-time trick, the stunt created a moment the players’ loved. I wonder what the DM decided to do when the players kept trying to repeat it. If you can use this trick on a dragon, the dungeon becomes your aquarium.

The Pros and Cons of D&D’s Ability Checks

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In the early years of Dungeons & Dragons, players searched by telling the dungeon master where they wanted to look, and then the dungeon master told them if something was there. The game resolved most actions using back and forth dialog, plus clear cause and effect. Before skills and core mechanics, resolution relied on the on the logic of the game world. See A Lack of Ability Checks Shaped How People Originally Played Dungeons & Dragons.

Old-school gamers swear by this method, and with good reason: It grants players, and not the dice, control over their characters’ fates. It makes player decisions and ingenuity count. The details of the game world matter.

But some tasks demand a character’s talents to succeed, so this sort of resolution cannot cover every action: listening at doors, creeping behind an enemy, balancing atop a rope spanning a moat.

Once skills and ability checks entered the game, they began to spread. Over the years, D&D’s rules encouraged players to rely more on checks. This trend peaked in fourth edition. In skill challenges, players overcame obstacles by explaining how their character’s skills could help, and by rolling checks. As written, players never needed to engage the game world or to show ingenuity. They just found the best applicable skill.

Although fourth edition promoted checks more than many players wanted, the emphasis brought advantages.

Making characters unique

In the original D&D game, characters that shared a class and level all played about the same. Without ability checks, their ability scores rarely affected play. Without skills, they all featured the same capabilities.

The fourth-edition designers created a game optimized for a style of play where players built awesome characters and then showed them off in encounters—either battles or skill challenges. Character building became as much a part of playing D&D as time at the table.

By emphasizing checks, the game highlights each character’s talents and limitations. When a player invests in a persuasive character with a high charisma, they can win allies with a die roll. On the other side, if you play a character with an 8 Intelligence, your own brains cover some of your character’s stupidity, except when you make intelligence checks. You might solve a real puzzle, but an abstract one makes your character face a check.

Commenting on another post, Andrea Back describes it well, “Without skills, you end up with you playing you in a fantasy dress, with all your own limitations and qualities laid bare.”

On the other hand…

In the fourth edition, designers made the mistake of emphasized the parts of D&D that video games do best. If you want character building, electronic games offer more options, and you can play your character at any hour from the comfort of home. Tabletop games thrive when the focus on aspects that computers can’t match, so why focus on choosing skills and playing against random chance? By joining live players and a DM, we gain the ability to speak as our character and attempt any action, even ones not in the rules.

Skipping the dull parts

Sometimes a check can provide a shortcut for tasks that could prove dull. If the players want to search a cluttered room, but want to avoid the tedium of describing how they cut the straw mattresses, sift the dirt in the flowerpots, and so on and on, a check seems like a time saver. Fourth edition’s Streetwise skill seems contrived to skip the urban role-playing that the designers found tiresome.

On the other hand…

As a DM, I steer the game away from activities no one seems to enjoy, but I feel wary of letting someone use a die roll to cheat the other players out of the fun of interacting with the game world and actually playing the game. However, if the entire table agrees, we can just substitute a Wisdom (Survival) check for that trip to Tomb of Horrors.

Shaping the game

Different players favor at different parts of the D&D game. Some lavish attention on crafting characters. For them, the fun at the table comes from showing off their creations. Fourth edition was made for players like this.

Some players use their character to shape the sort of game they want to play. Sometimes this means making a character good in an area where the player feels weak. If you lack charm, but play a charismatic paladin, you can let a persuasion roll do all the talking. Even the most timid player can enjoy the benefits of a magnetic personality.

Sometimes players craft characters able to breeze through challenges that the player finds tiresome. They claim that their character has more brains, and ask to solve a puzzle with a check. I once met a player who optimized characters for combat because he wanted to speed through the battles.

On the other hand…

We gather at the game table to enjoy the tactics, ingenuity, and silly voices. Most of the time, we would rather act as our character rather than just rolling dice on their behalf.

More than once I’ve seen a player make an impassioned speech in character, asking the Baron, for instance, to defend the settlers. The player’s voice trembles with passion as she speaks of courage, loyalty, and the honor of the Baron’s ancestors, calling their spirits by name. The player steps down from atop a chair to applause and tearing eyes. But then, feeling bound by the system, I ask for a Charisma (Persuasion) check with the advantage earned for an outstanding performance. Then the orator rolls, and flubs. Sorry, you fail.

In situations beyond diplomacy, specific actions can also make a check seem pointless. If someone taps the bottom of a chest looking for the secret compartment, skip the search check and just reveal the location. If someone describes an ingenious use of leverage to lift a gate, skip the strength check.

Rolling for surprise

We all savor the split-second drama of waiting to see the outcome of a die roll. Every player remembers a moment when a lucky roll made a crazy, long-shot scheme work, or when bad rolls caused a plan to unravel and forced everyone to plan B and then to C. If these moments came from a DM’s ruling, they would seem like cases of DMs steering the game to fit their story. The magic comes because the dice twisted fate, making a surprise that proved unforgettable.

On the other hand…

Sometimes an extreme roll lets a 98-pound weakling batter open a door or causes the mighty barbarian to fall from a rope. Such outliers diminish the qualities that make characters unique.

On an unlikely success or failure, sometimes I use some outside cause to explain the fluke. If the barbarian falls, did the knot slip loose? If a clumsy oaf picks a lock, did someone just forgot the latch? By narrating a cause outside the character’s control, the effect remains, but the character still feels consistent.

Finding the sweet spot

If an elite acrobat sprints across a swaying rope bridge, do you require a check or just let them show off? If someone specifically examines the bottom of a chest, do they still need a roll to find the hidden panel there? Can someone skip a puzzle if their genius character aces an intelligence check? If someone offers a generous bribe to a corrupt guard, do they still need persuasion?

I don’t know, but when I reach the table, I can judge.

Some players love to roll dice. For them, the game only moves when they make rolls. Others like speaking in funny voices or solving puzzles and boast of sessions where no one rolled a die. Most players favor a style in the middle.

Original D&D and fourth edition mark extreme approaches to ability checks, from no checks to a game that can—if players choose—rely entirely on checks. Each approach brings some advantages. In our games, we can adopt either style—or find a balance that suits us.

Running Scenes and Summaries that Invite Choices and Reveal Characters

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My last post explained how scenes and summaries allow game masters to speed past uneventful time in the game world and focus on the action. This post offers more advice on running scenes and doing summaries.

Running a scene

Before starting a scene, you need two essential ingredients: (1) characters with a goal and (2) an obstacle that stands in their way.

To start a scene, set the scene. Describe the time and place. Make the description vivid. Finish your description with the thing that will spur the players to action. In a classic Dungeons & Dragons game, the call to action comes from the monster in the room. Mention the monster last, because otherwise your players will plan their attack and ignore your description of the bas-relief, the incense, and the patter of dipping liquid.

A monster will launch some scenes into motion, but other triggers could be the duchess asking why the characters intruded on her battle council, birds crowding the rooftops to silently watch the players, or anything that invites players to act. A good call to action hardly needs the usual follow up question: “What do you want to do?” Nonetheless, characters might ignore the call. The party might see the gathering flocks as a threat, or the druid might want to have words, or perhaps they count the birds as an omen and move on.

The rules of most role-playing games dwell on the scenes, leaving little need for more explanation.

How to do a summary

A summary skips the uneventful parts of passing game time. It begins when the scene ends—when players look at the scene’s outcome and decide what to do next. Often, they choose a goal that carries them to their next scene.

During a scene, the players’ choices tend to focus on overcoming an immediate obstacle. But during a summary, the players’ choices tend to drive the adventure. If players pass too many summaries without a choice to make, your game may start feeling like a railroad.

In a summary, damage is healed, resources replenished, and so on. Players can describe as much of the activity as the game master.

“We go to the docks and find the captain of the Salt Mist, and then hire her to sail north to the City of Sails. Does anything happen along the way?”

“No. After 3 days at sea, you dock in Luskan on the Open Shore.”

If the passage of time presents new developments that might change the players’ plans, then mention the events and give players a chance to interrupt the tale and make new choices. Perhaps something happens on route. “On your second day at sea, you spot a thick column of smoke rising from inland, just beyond a hill.”

You might remind the players what makes their new options interesting. “As you talk about investigating, the captain seems too willing to put you ashore, and you suspect she may be eager to leave you behind.”

When a summary takes players someplace new, add enough description to give the flavor of the experience, and a sense of the passing time.

A summary can include colorful moments that inspire players to act in character. For example, if the party spots a live stag with an arrow in its flank, does the druid heal the beast, or does the ranger finish it and host a feast? Such moments usually lack the ingredients of a scene, but they offer hooks that let players reveal their characters.

Accelerating the pace

When a summary covers familiar ground, shorten the narrative. That first journey to the City of Splendors deserves some color. The third can pass in a sentence.

As players approach their ultimate goal and the climax of the adventure, they will lose patience for long summaries. When adventurers first reach Barovia, players may enjoy stately trips from town to town. But when the party stands ready to confront Strahd, cut directly to the gates of Ravenloft.

A cut eliminates all the narrative between scenes. The players might say, “We want to question the longshoreman to see if anyone saw the Salt Mist.”

“Okay, now you’re in the Siren’s Call as the place fills with thirsty roughnecks.”

Cuts rush past the flavor of the game world, and short circuit the players’ chances to make choices. Early in a campaign, avoid cutting between scenes.

Near the end of a long campaign, cuts grow more welcome. When few choices remain and when players feel eager for the story to reach a climax, cuts accelerate the pace.

Letting players take the narrative

In How to Say Yes Without Turning Your D&D Game Into a Joke, I talked about how the GM bears responsibility for the game’s challenge. Often, a GM must control the narrative so players face meaningful obstacles. But in a summary, no obstacles block the characters’ progress. This makes a summary the ideal time to let players tell their characters’ tales. For example, if the players spend 10 days waiting on town, ask each player for their character’s story of the downtime.

At the end of the adventure, when the characters return to the town they saved, let them tell of their hero’s welcome. Who celebrated with the fetching Sheriff? Or maybe keep that to yourself. This is a family table.

During a summary, when players take the narrative, characters gain chances to reveal their personalities. Plus, you get a break while they do the talking. That’s how you win at Dungeons & Dragons.

How to Use Scenes and Summaries to Focus on the Best Parts of a Role-Playing Adventure

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This started as a post on pacing until I checked other game masters’ advice on pacing and discovered that nobody discussed the same topic. Some “pacing” advice helps GMs run at a brisk tempo. For that, see my posts on initiative, delegation, and how to end a battle. Some explained story beats, dramatic tension, and the three act structure. I’m not clever enough to finesse such narratives without my players noticing a loss of freedom.

So this post covers scenes and summaries.

Have you seen the image that explains Dungeons & Dragons as the game where a 3-hour walk takes 5 minutes, but a 5-minute battle takes 3 hours? That sentence tells the difference between scene and summary.

Game mastering advice rarely talks about scene and summary because game masters tend to manage the two by feel. Mostly, feel works okay, but often not. Although scenes feature the game’s excitement, dull role-playing sessions start when a GM tries to make a scene from time that should pass in summary. On the other hand, a bad summary makes player feel rushed and railroaded.

Scene

In a role-playing game, scenes focus attention on the times when players fight a battle, talk to an non-player character, or search a chest for secret compartments. In a role-playing game session, scenes show all the action. During scenes, players make every decision for their characters. In combat scenes, game time expands so players can focus on small decisions and use the game rules to determine outcomes.

Summary

A summary skips the uneventful parts of passing game time. Summary speeds past the times when players travel a safe road, search a library, or collect a reward from a patron.

A good summary leaves players with a sense of passing events and with chances to pause and make decisions. During a summary, characters heal damage, tally and replenish resources, weigh their options, and make the choices that lead to the next scene.

When to run a scene

To start, a scene needs two ingredients: characters with a goal and an obstacle that stands in their way.

Goals

The classic D&D scene starts with the goal of treasure and the obstacle of a dragon. Sometimes, monsters attack and the party goal becomes to survive. (In those cases, especially, think about the monsters’ goal. See Create better encounters by considering what your monsters want.) The most interesting encounters often feature a goal different from kill all the monsters.

A goal needs enough stakes to merit a scene. If the party goes to the fletcher for arrows, the chance to save a few silver hardly calls for a negotiation scene.

Typically, role-playing scenes combine a goal of gaining help or information, with the obstacle of an uncooperative non-player character.

When characters lack a goal and a GM launches a role-playing scene anyway, players wind up wondering they are supposed to do. See A priest, a warlock, and a dwarf walk into a bar and…nothing happens.

Obstacles

The obstacle in a role playing scene comes from any NPC reluctant to help anyone who asks. For help creating the obstacles needed for compelling role-playing scenes, see 22 Reasons why a non-player character won’t cooperate.

A true obstacle must bring a chance of failure. If players face a locked wooden door, but they have unlimited time and an axe, the door fails as an obstacle. On the other hand, if the crash of an axe into boards could bring monsters, players face a dilemma and the scene has an obstacle.

Exploration

When players explore, they have a goal—perhaps only find the treasure—but they may face unknown obstacles. The unseen hazards make the players’ choices important and make the exploration work as a scene. If a scene continues for too long with unknown obstacles, players may lose interest. Add a reminder of nearby peril. Perhaps strange sounds echo through the stones, or a chill passes the corridor.

In exploration, when no obstacles lurk nearby, the game master can rely on summary. “You look through all the rooms in the cellar and find a polished, black ring among the rubbish.”

Exposition

Sometimes game masters start a role-playing scene without a goal or obstacle because they want exposition. At the start of an adventure, players tolerate such scenes. The implied goal becomes, learn our goal. Scenarios often add a minor obstacle by introducing a patron who needs the right questions to provide extra help and information. However, such weak scenes typically work better in summary.

I used to make the mistake of trying to conclude adventures with a scene where characters meet their patron to collect payment and tie any loose ends. I learned that as a scene, denouements never hold attention. While players tally their loot, just summarize the medal ceremony.

Exception: Scenes that work as a reward

When a game master announces treasure, players tend to pay careful attention to their reward. Likewise, role-playing scenes that reward players with information can hold attention even when the scene lacks an obstacle. These scenes feature players with questions and a colorful NPC ready with answers. Crucially, these scenes still feature a goal. Players must want the information enough to have fought for it and won. Don’t dump unwanted backstory and call it a scene. See How to reveal backstory in a role-playing game session.

When to do a summary

Whenever an game session lacks the ingredients for a scene, a goal and an obstacle, you can rely on summary. If you feel unsure about switching to a summary, ask the players. “Do you want to do anything special, or should we move forward?”

During a summary, as game time speeds along, players can feel like they lose some control over their character. Among other things, my next post will explain how to do a summary without making players feel like passengers on a railroad.

Next: Running Scenes and Summaries that Invite Choices and Reveal Characters