Tag Archives: D&D Championship

How Character Death Lands D&D in a Tug-of-War Between Game and Story

Character death has always torn Dungeons & Dragons between game and story. The threat of death makes the game exciting, but actual death brings a character’s story to an unsatisfying end that can disrupt a campaign.

Without characters facing the potential of dying, the game lacks tension and stakes. Decisions lose consequences because however characters act, they emerge unharmed—stronger thanks to experience. At his crankiest, D&D co-creator Gary Gygax railed against players who wanted campaigns that never threatened characters. “How I detest namby-pamby whiners that expect to play a real RPG without threat of character death or loss of a level, stat points, or even choice magic items! Without such possibilities, what it the purpose of play, a race to see which character can have the greatest level, highest stats, and largest horde of treasure? That is just too flaccid for words.” (See The Game-Design Trends That Turned D&D Into a Game Gary Gygax Disliked.)

The D&D Open moments before my character (lower left) died to a Marilith

My favorite D&D sessions came in the D&D Open, tournaments where long odds made casualties almost inevitable. (See Why the Awesome Dungeons & Dragons Championship Should Return.) The peril adds a weight and urgency to play that made ordinary game sessions pale. In D&D campaigns, the threat of death makes the characters feel like heroes because they brave real risks that can end their imaginary lives.

But while the threat of character death adds excitement and vitality to D&D, actual character deaths usually sour the game.

In those tournament games, dying meant dropping from the session. One player’s fun ended. In campaign games, death proves much worse. We players invest time in our characters. Creating one takes a half hour or more of effort to build, and then to invent a history, personality, and so on. Playing a character to higher levels demands hundreds of hours. A dead character seems to waste that investment. (Funny how we simply stop playing characters without feeling the same loss.) We become emotionally attached to our characters. We imagine story arcs for them where they grow and change and reach a meaningful conclusion to their journey. Death stifles those plans. Losing a character hurts.

Character deaths can also hurt campaigns. Today’s roleplayers foster connections between characters in a party. Dungeon masters strive to link a campaign world and its conflicts to characters. A death cuts all those connections and stalls story threads without resolution. The group faces the problem of introducing a new character into play and possibly reviving broken plot threads.

Through the years, D&D’s designers coped with the problem of death by making characters harder to kill. Originally, in the Blackmoor campaign that led to D&D, a single hit killed a character. “It didn’t take too long for players to get attached to their characters,” D&D co-creator Dave Arneson said. He introduced hit points. (See The Tangled Origins of D&D’s Armor Class, Hit Points, and Twenty-Sided Die Rolls To-Hit.) In the 1974 D&D game, a character reduced to 0 hit points dropped dead, beyond healing. By the release of Advanced Dungeons & Dragons (1979) characters fell unconscious at 0 hp, and only died at -10 hp.

Even in original D&D, spells like raise dead often made death into a brief setback rather than a permanent loss. In the Dungeon Master’s Guide, Gary wrote, “Death due to combat is no great matter in most cases, for the character can often be brought back by means of a clerical spell.”

Resurrection magic spares characters from dropping out of play, but to hold some stakes, death must keep enough sting to make it feared. The original raise dead forced characters into two weeks of rest. In busy campaigns like Gary’s, that sidelined a character and forced players to bring one from the bench. (See Dungeons & Dragons and the Dream of the Grand Campaign.) Still, a two week break rates as a trivial setback, especially when few campaigns keep a calendar. AD&D added a risk of failed resurrections and a limit to the number of resurrections. Third edition features the best version of raise dead: Revived characters lost a level. This consequence adds enough fear of death to lend tension to the game, while limiting the chance of removing a character from the game.

AD&D’s reincarnation spell rates as the worst example of resurrection magic. Players would have characters kill themselves until they reincarnated as an ogre mage. Clearly, those campaigns featured very little role playing.

Fifth edition suffers from D&D’s most namby-pamby version of raise dead. After a long weekend, resurrected characters shake all the effects of death. Further, most characters can afford resurrections without a loan. (See Dungeons & Dragons Stopped Giving XP for Gold, but the Insane Economy Remains.) This lack of risk can drain the game of excitement. No wonder the designers of the Tomb of Annihilation adventure felt a need to make death more threatening. The circumstances of the adventure temporarily blocked raising the dead and imposed a risk of permanent death. Gary would be proud.

While raise dead can benefit the game, resurrection magic must give D&D novelists fits. How do you place characters in peril when rules-savvy readers know how easy resurrection should be? I’m told most D&D writers just ignore such easy miracles in their tales. Who can blame them for looking away and whistling past the empty graveyard?

Fifth edition’s forgiving rules for character death make characters above 4th level just about impossible to kill. Because fallen characters usually survive if anyone stands to revive them, total party kills have become more common than individual deaths.

In modern D&D, only new characters typically die. The designers embrace this quirk. To them, a new character represents a small enough time and emotional investment to feel disposable. Still, new players typically play new characters, so the design risks distressing potential converts by dealing abrupt deaths. (See Sly Flourish on Building 1st Level Combat Encounters. Hint: Have a kindly priest cast aid on your players’ 1st-level party.)

While the risk of character death has shrunk, the threat of death has always remained part of D&D. Despite ranting against players who failed to risk characters’ lives, Gary saw the tension between needing death in the game and the pain of actually losing characters. In the Dungeon Master’s Guide, he writes, “It is very demoralizing to the players to lose a cared-for player character when they have played well,” and then he suggests ways to avoid killing a character. But in the same paragraph, he warns DMs to never tamper with the system shock roll that a character must make to be successfully raised from the dead. “There MUST be some final death or immortality will take over and the game will become boring because the player characters will have 9+ lives each.”

Next: Death, stakes, and bargaining. How letting characters opt out of death might improve a D&D game and its story.

Origins 2017: Choose Your Own Dungeons & Dragons Adventure

5 Replies

This year at Origins, I split my time between serving as a dungeon master, and playing in Dungeons & Dragons games. Remember the disappearing McFly family photo from Back to the Future? It gave Marty McFly a look at his progress toward setting his future right. This year at Origins Game Fair, I ran an epic adventure that made me think of that photo. More on that later.

For many gamers, the Origins Game Fair feels just the right size. Unlike Winter Fantasy, the convention offers diversions beyond non-stop D&D. Unlike Gen Con, you don’t face a city and a convention center crowded to the limit. In 2015, Gen Con brought 61,423 unique visitors to Indianapolis. Origins 2016 brought 15,479 unique visitors to the similarly-sized city of Columbus. At Origins, you can reserve a hotel room without winning a lottery and you can pay for it without winning a lottery.

Goblins and scenery from Tomb of Annihilation

Elmwood adventures

I arrived with two convention-created adventures on my DM schedule. ELMW 2-1 Tendrils in the Fog and ELMW 2-2 Mists of the Moonsea read well. They land characters in vibrant scenes that promise to excite players. Both adventures feature a good mix of role-playing, investigation, and combat challenges. ELMW 2-1 takes players to villages and hideouts along the Moonsea, before ending in a small dungeon. ELMW 2-2 features battles on and under the sea, and ends with an ambush spanning a series of rope bridges. Both adventures pit the players against a group of adventurers cursed by evil. The foes resemble any number of morally questionable parties, perhaps dialed one notch darker. I loved these villains. ELMW 2-2 proved as fun as I anticipated.

An introduction to Tomb of Annihilation

I never ran ELMW 2-1 because the marshals needed an extra hand to run the introductory adventures for Tomb of Annihilation. I ran these adventures cold, reading one step ahead of the players. Each of this set of 5 missions plays in hour and a half or so. These adventures take characters to the jungle of Chult and the exotic Port Nyranzaru. Chult substitutes dinosaurs for shining knights and blood-sucking vines for wizards in pointy hats. Players feel like Indiana Jones in a lost world.

Most of the folks who come to play D&D at Origins rank as passionate players who bring a quiver of characters and who may play adventures more than once. The introductory adventures draw a different mix of players. First-timers and gamers who haven’t played since THAC0 join the D&D enthusiasts. The new and returning players bring a fresh enthusiasm that I savor. In the past, I haven’t volunteered for these introductory adventures, but next year, I plan to.

At conventions like Origins, where the dungeon masters belong to the Heralds Guild, we get scored based on players’ feedback. Running the introductory adventures cold lead to a dip in my score for preparation. I can’t argue with the accuracy, but seeing a drop in my overall judge scores disappointed me.

Hecatomb

This year, Origins hosted all three of the epic adventures that accompany Tales from the Yawning Portal. I played in Hecatomb, an epic for tiers 3 and 4.

Hecatomb’s author ramped up the difficulty of this adventure, even for tier 4. I love a challenge, so I welcomed the threat. I heard tales of tables practically wiped out. Meanwhile, at my table, two characters died, rose as undead, and attacked surviving players at other tables. One of the DMs administering the event went from table to table with a group of players running their now-undead PCs. The dead took revenge on the living. This “interaction” beats just having some evil champion roaming from table to table.

Hecatomb landed all the players on massive battlefield, scrambling to destroy arcane obelisks while fighting monsters. Presumably, our comrades in arms fought on battlemaps next to ours, facing other battles for other obelisks. By social convention, everyone agrees not to seek out the folks at the next table to form a party of 12.

Our party featured a crossbow expert/sharpshooter character—number 1 on my list of character types absurdly good at one thing. Even folks who play the combination find it overpowered. After taking casualties, our table changed strategy. We realized that the sharpshooter could safely destroy the obelisks and the monsters lurking two maps over, without ever letting threats come close enough to strike back. In this optimal strategy, my magic user’s best contribution was to cast Haste on the sharpshooter. Our melee characters could only “ooh” and “ahh” like an audience for Annie Oakley. Encounter designers need to consider sharpshooting just as they might consider something like flying. If you design an encounter where characters can engage foes from 500-yards away, then for parties with sharpshooters, the monsters resemble infantry crossing no-man’s land.

Return to White Plume Mountain

I ran Return to White Plume Mountain as a dungeon master. This epic accommodated both tier-2 and 3 characters. The tier-3 PCs fought to thwart a sacrificial ritual, while the tier-2 PCs attempted to distract the monsters, drawing them away from the main assault.

Return to White Plume Mountain worked hard to foster interaction. Some of its methods fascinated me.

A twist that required communication. Return gave each party a sending stone linked with another table. In many epics, such stones enable communication, but Return also included a clever trick that could foil groups who failed to communicate. In my session, some tables treated messages as a distraction and failed to notice the essential information. If more solutions come from messages between tables, the design would work even better.

Scoring that affected encounters for both tiers. Return featured a push-pull dynamic where each tier’s efforts drew monsters away from the other tier. Potentially, this could force tables to agree on a strategy that raises enough of a distraction to ensure success without drawing all the monsters into a deadly encounter. In practice, tier-2 tables just saw a distraction score that they could raise. Like any good gamers, they put all their energy to reaching a high score. Tables marched through the dungeon making more noise than a parade, without seeing the danger. In the end, tier 2 faced all the monsters.

The push-pull feature would work better if, instead of a rising score, the players saw the additional monsters in their future. Suppose some divination magic gives the PCs visions of their near future. This idea made me think of the McFly family photo—a vision of the future that results from the players’ current actions. I wanted a line of miniature figures that showed the monsters to come, but a scorecard handout would work as well. Back in How to forge the most epic multi-table role-playing event ever, I recommended letting players choose their own difficulty. In Return, a more visual push-pull mechanic would help.

Every table joined in the same battle. In the finale, all the tier-2 parties enter a massive dungeon room where they spot the ritual at the far side. An army of tier-3 monsters defend the ritual. As intended, the tier-2 parties stay on their side of the room and work to rescue sacrificial victims until tier 3 arrives near the heavy hitters to thwart the ritual. This works so long as the Tier-2 groups stay in their lane and avoid any bold ideas that might interfere with the ritual.

Step aside, pipsqueaks. I’ll finish this.

When I ran, my tier-2 group had little reason to stay in their lane. Before entering the final room, tier-2 table captains gather to share resources. Somehow, my table’s captain returned from the meeting with an allied planetar summoned by a tier-3 table. So a party clustered around level 7 added a challenge-rating-16 powerhouse with a fly speed of 120. I spent days wondering what part of the adventure let tier-3 tables share such resources with tier 2. What did I miss? The event’s one administrator was doing a job intended for three people, and I think he overlooked this extra interaction. But at the time, I figured the planetar came approved by the boss.

When my group entered battle arena and saw the ritual on the far side, they wondered whether to send their planetar to intervene. In one round, the celestial could have flown across the entire room, engaged the villain, and dealt lethal damage, while using innate Truesight to foil the Contingency intended to keep the villain alive. Before 6 tables even reached the final encounter, the event administrator could have stood and announced the abrupt victory to all 12 tables. “Now everybody has an extra hour for lunch. You can thank table 3 on the way out.”

Dungeon masters, choose your own adventure. In this situation, do you…

Tell the players you don’t care what anyone says. They can’t bring a planetar. (But the planetar came from the boss, and I can’t believe you’re saying “no” to your players.)
Let the planetar cross the room, then invent reasons that it fails to thwart the ritual. (You’re just abusing your power as a DM just to make the players fail.)
Pass the planetar back to the overextended event administrator and let him figure out what to do with it. (Just say, “Excuse me. I know that you’re already doing 3 jobs, but I can’t handle a little trouble at my own table.”)
Let the planetar solve the epic for all 12 tables. (Everybody, you’re welcome!)
Suggest that the players stay in their lane and use the planetar to help themselves. (Why should players have to meekly follow the author’s intent?)

My players stayed in their lane. I’m not particularly happy with the way I handled the situation. How would you do it?

D&D Open

In eight hours, the D&D Open aims to combine the fun and community of a battle interactive, with a measure of the competition of the old tournaments. The Open’s all-star team of authors, Teos Abadia, Shawn Merwin, and Sean Molley, capture all the challenge that made the original event such a blast. This year, I played as groups ventured to the jungle land of Chult to rob the tombs of dead gods. Monsters native to this lost world provided a unique flavor.

The event added a room of physical and mental challenges for Players—something like dungeon carnival games. Everyone seemed to enjoy this short break from the table.

The adventure also added the shtick of having a wandering monster roam from table to table to trade attacks. I only like this trick when the wandering menace comes from now-undead PCs. In a quasi-competitive event where players race against time, I disliked the gimmick more than usual. Fortunately, the interruption only takes a few minutes.

The event’s finale featured clever twist and a thrilling race to escape. The escape encouraged even faster play and set an objective other than kill everything. Once again, the D&D Open delivered the year’s best D&D game.

Dungeons & Dragons at the 2016 Origins Game Fair

7 Replies

For many gamers, the Origins Game Fair feels just the right size. Unlike Winter Fantasy, the convention offers diversions beyond non-stop Dungeons & Dragons and Pathfinder. Unlike Gen Con, you don’t face a city and a convention center crowded to the limit. In 2015, Gen Con brought 61,423 unique visitors to Indianapolis. Origins 2016 brought 15,479 unique visitors to the similarly-sized city of Columbus. At Origins, you can reserve a hotel room without winning a lottery and you can pay for it without winning a lottery.

I photographed this multi-table megadungeon at Origins 2015

Multi-table megadungeon photographed at Origins 2015

Origins features reasonably priced options in a connected food court. Gamers can also walk to downtown restaurants or cross the street to the North Market. This pavilion features vendors selling Mexican, Indian, Polish, barbecue, Italian, sushi, and many other types of food.

Origins started in 1975 as a convention sponsored by wargaming-giant Avalon Hill in its home town of Baltimore. In tribute to Avalon Hill and its town’s role in the birth of hobby gaming, the convention took the name Origins.

In Origins’ early years, it became the convention where the board- and miniature-gaming enthusiasts could find refuge from the the role-playing gamers who infested their hobby and who took over Gen Con. In 1988, when Origins and Gen Con combined into a single event for a year, those old wargamers grumbled.

Compared to Gen Con, Origins still tilts more toward board and miniature games. It shows fewer signs of fan culture like anime screenings, celebrity guests, and costumes.

In a recap, Andrew Smith writes, “If you’ve been at Gen Con when the Hall opens, you may be envisioning crowds of thousands of people waiting by the doors. Origins is quite different. We got in line a few minutes before opening and were probably behind 20-30 people in a single file line. It’s a completely different atmosphere.” Unlike Gen Con, board game demos spill out into a patchwork of territories outside the exhibit hall. This offers more hours to sample games, more space, and more affordable space for the manufacturers. “Demo lines are shorter and publishers just seem less busy and able to really sit and discuss their games.”

This year, Wizards of the Coast made a strategic move to avoid Gen Con and feature Origins. Members of D&D team, including Mike Mearls, Chris Perkins, Chris Lindsay, and Trevor Kidd visited the con, while none will reach Gen Con.

As with Winter Fantasy and Gen Con, the folks at Baldman Games operated D&D organized play. The con launched a new program where conventions can commission Adventurers League adventures for their events. The organizers gain exclusive access to their content for six months before releasing it to the world at the Dungeon Masters Guild. Adventures in this new program will center on the Forgotten Realms Moonsea region.

The new Baldman Games adventures included a trilogy of adventures set in Melvaunt and four adventures set in Hillsfar, which were were reserved for D&D Experience players. On the Down with D&D podcast, the Bald Man, Dave Christ, talked about commissioning top authors to launch his exclusives. “With this being the first one, I wanted to set the bar really high. I wanted to kind of knock it out of the park.”

CORE1-2 A Cog in the Wheel

The D&D experience pairs tables of six players with the same, top-rated DM for all four adventures. My table’s judge, Krishna Simonse, did an outstanding job accommodating our taste for combat challenges harder than the adventure’s strong level and our love of grids.

D&D play at Origins 2016 with the D&D Experience in the balcony

In addition to the exclusive content, the convention premiered the final, season 4 Curse of Strahd adventures and the kickoff for the season 5 Storm King’s Thunder story.

For me, the con’s best moments came with the return of the D&D Open. I explained what made this classic so great in, “Why the awesome Dungeons & Dragons Championship should return.”

The new Open’s all-star team of authors, Teos Abadia, Shawn Merwin, and Sean Molley captured all the challenge that made the old event such a blast.

In eight hours, the new Open aimed to combine the fun and community of a battle interactive, with a measure of the competition of the old tournaments.

Me in black at the D&D Open—despite our game face, we're having fun

My D&D Open team, with me in black, listening intently to the DM’s description of our next challenge.

Most of the event pitted players against an old-school funhouse adventure set in the megadungeon of Undermountain. Here the challenges proved as fun as any tournament I’ve played. I loved how so many locations wrapped combat encounters with puzzles to be solved. In a maze, PCs raced to gather clues while fleeing minotaurs and mind flayers. In castle ruins, PCs needed to find a way to turn catapults against a Death Tyrant. Best of all, the authors made the new Open hard—none of the namby-pamby, say-yes, everybody-is-a-star D&D in fashion now. Characters died. Our table saw one character Plane Shifted to certain doom and a second slain by a death ray. Save or die! Gary would be pleased.

For a climax, the tables joined forces against a diabolic machine constructed by Halaster, the mad architect of Undermountain. Sean Molley showed astonishing ability to speak loudly enough to be heard from the far side of the ballroom while still taunting us in the Doofenshmirtz-like voice of Halaster.

I still wish for a more rigorous tournament with pregenerated characters, multiple rounds, and elite dungeon masters striving for consistent rulings and style. The D&D team sees that style of tournament as history. For most players, the new Open probably offers more fun. For an old grump like me, the Open still ranked as my best game of the year.

Wizards is already hatching plans for next year’s Open. Based on the event’s success, I suspect they will offer this year’s adventure to other conventions, but that remains undecided.

In all, Origins 2016 ran twice as many Adventurers League tables as in 2015.

The Origins Game Fair returns to Columbus on June 14-18th of 2017. See you there.

Next: Spells that fish for spoilers

Why the awesome Dungeons & Dragons Championship should return

15 Replies

As a kid playing sports, I had no role other than the goat—the guy who screwed up and caused everyone to lose. When people talk about the magic of youth sports, about how they build teamwork and character and leaders, I want to wretch. All those people touting the magic of sports have one thing in common: They were good at sports. They never realize how much their talent contributed to their glowing feelings. For klutzes like me, being part of a team competition meant humiliation and scorn. “Thanks for making us lose. You suck.”

By the time I discovered Dungeons & Dragons, I had experienced all the losing I could stomach. Some of what drew me to D&D was that I could play without losing. In D&D, you can join some friends, roll some dice, and have fun. Everyone won and I liked it.

A typical D&D game stacks the odds to assure the players victory. Dungeon masters select and adjust the monsters to give the players fights they can win. DMs shy away from player-killing tactics like focusing fire. Some DMs secretly guarantee victory by making hidden rolls that they can fudge. In the interest of story, some DMs never let characters die without their players’ agreement.

I like story and I like seeing characters succeed, so I enjoy this style of play. Through a year of D&D, all the games I play will stack the odds for the player.

Except for one glorious event.

Now I will tell you how wonderful team competition can be.

Between 1977 through 2013, Gen Con featured an event originally called the D&D Open and renamed the D&D Championship. The Championship runs as a tournament, with teams of players racing to complete objectives while surviving a difficult adventure. Successful teams advance to later rounds until one team wins. Classic adventures such as the Vault of the Drow and the Against the Slave Lords series came from this competition. Every year I played, the Championship ranked as the most fun I had playing D&D all year.

What makes the Championship such a blast? It starts with the fun of D&D, then adds elements that most D&D games lack: challenge, high stakes, and urgency.

In the Championship, challenge is high because the odds favor the monsters. A Championship DM can do things that would cause hard feelings in a regular game. Focus fire. Single out healers and spellcasters. Coup de grâce. Championship DMs are expected to finish fallen characters. No hard feelings. In the Championship, I don’t care how tough a DM plays the monsters. Bring it on! All I care is that the DM plays efficiently.

Never tell me the odds! The finals of the 2012 Championship.

This challenge makes the threat of failure real, and it offers a reward: When you triumph against long odds rather than against a stacked deck, the victory tastes so much sweeter.

Yes, PCs fail sometimes. Luckily in D&D, failure can be fun too. My teammates still tell stories of some characters’ deaths.

The competition creates high stakes in the real world. At the start, everyone wants to perform well to earn a spot in the next round. By the final round, everyone plays for the glory of a win. These stakes create more suspense than anyone feels in a typical game.

Because a fast pace enables teams to complete more objectives, the Championship rewards efficient play. Players in the Championship show an urgency that casual games lack. No one disappears into their phone. No one rouses on their turn, and then makes everyone wait while they examine the map and ruminate. The event’s pace makes the game hurtle ahead. Everyone spends more time playing.

I’m no D&D-playing star, but unlike those sports teams where I found humiliation, I can join a D&D party and contribute. At last, I get a sense of what the jocks always blathered about. Sitting on a team and contributing to success to can be glorious.

You can succeed in the Championship without bringing a team. I know multiple players who have joined a bunch of strangers, and then reached the finals. On two occasions, that was my story.

Championship DMs rank as the best of the best. They must master the rules and play quickly and fairly. Only the elite can handle the intense demands of the event. We players benefit.

Last year, for the first time since 1977, the D&D Championship was not held. The Championship’s elite DMs became a reason for its demise. When Wizards of the Coast launched fifth edition, they wanted these proven dungeon masters to help run the D&D All Access program.

The organizers wanted to push the Adventurers League over the older, tournament-style play. Ironically, when Wizards launched a version of D&D that aimed to embrace all the play styles of D&D, they killed the game’s oldest style of public-play.

“We saw an audience that had been divided by differences in editions and play styles, and wanted to design a version of D&D that all players could experience and enjoy.” – Mike Mearls, co-designer of fifth-edition D&D

Will the Championship return? Perhaps. It doesn’t appear among the official D&D events sponsored by Wizards of the Coast. They seem content to keep the Championship dungeon masters for the All Access event. Rumors say that some of the Championship’s long-time organizers are working to bring back the event. In light of Wizards’ tepid support and their eagerness to commit DMs to All Access, D&D’s oldest event faces a difficult chapter.

Do you love the D&D Championship? Have you played or run it? Do you want to try this thrilling event for the first time?

Little-known D&D classics: Fez

6 Replies

In 1980, the Advanced Dungeons & Dragons Open tournament played much like D&D games at home. The scenarios included dungeon exploration and fights with a dash of problem solving. Success came from quick play and cooperation. The Against the Slave Lords adventures show the sort of game players could expect.

In 1979, Len Bland and James Robert tried to enter the AD&D Open at Gen Con, but were turned away, so they decided to create their own tournament for next year’s convention. In 1980, they introduced Fez, a tournament like the AD&D Open, only better. In 1981, my buddies and I, at our first Gen Con, stumbled into the Fez tournament and had a blast, more fun than we had in that year’s AD&D Open. For several years, even as our interests wandered from AD&D to other role-playing games, Fez remained the Gen Con event we most eagerly anticipated.

Plus, Fez featured a play style different from the typical D&D game, and it blew my impressionable mind.

Fez I The Wizard’s Vale was originally printed as Fez I Valley of Trees

Fez I: Wizard’s Vale sets a pattern the tournament would follow for years to come. Players begin the game unfamiliar with their characters’ abilities. The players start with a brief description of their character and hints of what the character can do, but with no game stats, and with no knowledge of their goals. In Fez I, the characters begin the game waking with amnesia.

This setup points to what made Fez so brilliant. The character sheet lacked the pat solutions of skills and magic and THAC0. To succeed, players could only rely on their wits as and whatever solutions they could uncover in the game world.

In this blog, I’ve shown how a reliance of skill checks tends to encourage players to focus on their character stats and to lose interest in the game world. When a skill check solves any problem in the game world, the details of the problem become unimportant.

When I played Fez, little seemed to demand a roll. Behind the dungeon master’s screen, Fez was a D&D game complete with THAC0 and HP (or HTK as the module writes, perhaps as part of an agreement between Mayfair Games and TSR). From my player’s perspective, Fez factored rules out of the game, making immersion the game world all important. Normally, I would not want to play battles without character stats, but in Fez, the objective seemed to be to avoid fights.

In Fez, the characters always started without knowledge of their ultimate objectives. This convention started the players and their characters on the same footing. It enabled Bland and Robert to start the players with a puzzle—the task of learning their goal.

Fez II The Contract

Each tournament offered more puzzles and mysteries beyond the first. In Fez II: The Contract, players must settle Fez’s bet with a demon by accomplishing seven impossible tasks. Every task offers a puzzle with a variety of solutions. For example, players can circle the world in a single day either by repairing a crashed spaceship and circling the world, or by going to a library, finding a map, and drawing a circle around the world.

In Fez II, characters are plucked from the modern day, and one is an engineer, so repairing the space ship is less impossible than it seems. Every Fez challenges players with novel characters. In the first Fez, one player gets a Lammasu character. In Fez III: Angry Wizard, everyone plays a polymorphed monster. In Fez V: Wizard’s Betrayal, someone plays this:

The Orbion from Fez V

Much of the Fez’s charm comes from a gleeful mix of magic and technology. The game’s namesake, the wizard Fez, travels though time and frequently visits the modern day. The scenarios mix faerie and monsters, aliens and robots, with as much joy as a kid mixing action figures and toys for make believe. Despite the light tone, the first adventures still feel like D&D and avoid turning goofy.

Fez V Wizard’s Betrayal

After Fez V, Bland stopped writing the series, and the tone becomes sillier. For example, Fez VI: Wizard’s Dilemma includes a gag where the players overcome orcs by getting them to argue over whether a beer tastes great or is less filling. Years later, when I resampled Fez’s descendent, the NASCRAG tournament, it seemed to have lost any flavor of a D&D world to gags and pages from a puzzle book tacked to the dungeon wall. For my taste, it lacked the old magic.

But before Len Bland passed the torch, he and James Robert finished with Fez V: Wizard’s Betrayal, an adventure that would blow my mind again. Fez V inspired me to do a Gen Con tournament of my own. More on that in a future post.

During the 80s, Mayfair Games published the Fez adventures as a series of modules. You can still find used copies at affordable prices.

9 popular things in D&D that I fail to appreciate

18 Replies

I love Dungeons & Dragons enough to spend money to write a blog about it, but I dislike some elements of fantasy role playing. Perhaps “dislike” is too strong. I don’t want to squash your fun. This is not a rant; this is a cry for help. Help me understand the appeal of these 9 aspects of our hobby.

Real world cultures with different names. In the 1930s, authors helped readers swallow the fantasy of places like Hyboria and Middle Earth by setting them in ages lost to history. We’ve now grown so accustomed to fantasy versions of Europe that we can take them without the sugar of a lost age. But I, for one, can only stomach one analogue culture at a time. In the 1980s, every TSR staffer who read a book on the Aztecs or Mongols felt compelled to write a campaign box. Now, every corner of Faerûn and Greyhawk offers more cheap knock offs than the guy selling Rollex and Guccee at the flea market. My problem comes from my compulsion to invent explanations for some cultural farrago, a problem I share with the authors of Banestorm. (Young persons: If “farrago” appears on your SAT, you’re welcome. Gary did the same for me.)

Puzzles that depend on English letters, words, and spelling. Nobody who dwells in the Forgotten Realms speaks English, except Ed Greenwood under an assumed name. When the adventurers stop at the Old Inn, we just imagine its name is translated from “Ye Olde Inne” or something. I accept this, but when a D&D puzzle depends on English spelling, I feel like ye olde innkeeper just offered me a Bud Lite. The Mud Sorcerer’s Tomb feels a lot less bizarre and menacing after [Spoilers!] you enter by keying “WELCOME” at the door. Don’t forget to wipe your feet. (Note: Despite my peeve, I liked the puzzles in the 2013 D&D Championship, so I’m not unreasonable.)

Underwater adventures. At some point, every dungeon master desperate for a new idea hits upon the underwater adventure. Many are so hard up for material that the concept seems promising. Don’t feel bad; in 1977 similar desperation reached the professionals in the Happy Days writers’ room. Soon, players are fighting seafood and creatures in seashell bras. Resist this impulse.

Underwater adventures can go two ways:

You treat the sea with a measure of respect, and you wind up with guys in flooded armor swallowing “air pills” or something, but still unable to speak and thrashing as uselessly as fish in a boat. Even the chainmail bikinis rust.
You use magic and hand waving to simplify the environment to the Spongebob version of underwater. Spongebob is the guy who lives under the sea, lights fires, and has a bathtub.

I can tell you what underwater adventures would really be like. You would drown.

Mounts. I get that your warhorse has intelligence 6, uses the litterbox, and takes sugar with his tea, but must you insist on riding it underground? Do you know how tall a warhorse and rider is? How will you fit the damn thing through the doors? Whenever I DM for a guy with a mount, he insists I decide between (a) making the dungeon into the equestrian version of handicap accessible with 15-foot-tall doors and ramps between levels or (b) being TOTALLY UNREASONABLE and NERFING HIS ENTIRE CHARACTER CONCEPT. I know that some specialized D&D campaigns offer plenty of opportunities for Silver to join the fun, but folks who want to bring their horse in the house should probably be playing Bella Sera.

Druids. Let’s see. I can select a class that can turn invisible and throw fireballs, or I can play a druid and cast Warp Wood and Shillelagh. I’ll stick with spells I can pronounce and that also damage more than the woodwork. To make things worse, druids become ineffectual underground—in a game with a name that starts with Dungeons. Do druids sound good to you anyway? In original D&D, you had to battle other druids to reach high levels—as if there were a shortage of trees to hug. Oh, and all the other players have to put up with all your tiresome tree hugging.

Pets. Young people love having imaginary pets that fight for them. This accounts for Anne McCaffry’s bestsellers and the Pokémon millions lining the pockets of ground-floor Wizards of the Coast shareholders. Young person, I appreciate that 4E makes your woodland friends playable as familiar spirit animal companions. I only make two requests:

Limit your retinue to one pal. I have literally run tables where the pets outnumbered the characters. If I had attempted to realistically role play the scene where the zoo enters the tavern, the campaign never would have reached scene 1 with the patron at the bar.
Know the rules for your creature. If rule (2) where actually enforced, no one in the history of D&D would have ever played a character with a pet.

Bards This. Enough said? I played a bard once in a 3E game. My character stood in the background and I had to imagine that my lute strumming helped the party. To be clear, “lute strumming” is not a euphemism, but if it were, my contribution would have been just as useful. No one remembered to apply the bonuses coming from my musical inspiration. Fourth edition improved matters by making bards into musical spell weavers who pretty much operate like every other PC in 4E. I once played with a guy who re-skinned all his bard powers with the titles of Metallica songs. At least I think that’s what he did. In 4E, (a) no one understands what the hell anyone else is doing on their turn and (b) in 4E most power names already overlap with the titles of metal songs.

Stupid word play from game authors. (Note: Stupid word play from players is a-okay.) The MOST SERIOUS FANTASY GAME EVER, Chivalry & Sorcery, suggests this dungeon trap: “The Case of Nerves, a box which falls on the hapless intruder, inside of which are—‘nerves.’ [The intruder] immediately checks morale -20%, and failure sends him screaming down the hall.” Get it? A case of ‘nerves!’ I want game authors to save their comedy riffs for their HBO specials. I am not alone. Everyone knows the first role-playing game, Dungeons & Dragons. Ken St. Andre created the second RPG, Tunnels & Trolls. T&T featured concise and understandable rules, which, unlike original D&D, didn’t have to be deciphered by word of mouth and then held together by spit and house rules. In an alternate universe, T&T was a smash and D&D is a curiosity like the Landlord’s Game. In that universe, Ken St. Andre did not fill his smash hit with spell names like Rock-a-Bye, Whammy, and Take That, You Fiend! Meanwhile, in our world, T&T just thrived for solo play because alone, you never had to say aloud, “I cast Yassa-Massa.”

Apple Lane for Runequest

Furry races. Exhibit A: Spelljammer. This setting includes anthropomorphic hippos and space hamsters. Jeff Grubb writes, “The infamous giant space hamster also came out of ship designs. The gnome ship looked like a galleon and a sidewheeler slammed into each other. Someone asked what the big paddlewheel housings were for, since there was no air other than in the air bubbles. I said they were giant hamster wheels. Roger Moore (editor of Dragon) thought that was hilarious and it was off to the races with the giant space hamster. So I’m not taking the fall for that one by myself.” Exhibit B: Runequest. This game featured the most sober, serious world building this side of Empire of the Petal Throne. I love Runequest and would probably be writing a Runequest blog now except that the setting included anthropomorphic ducks like Donald and Howard. Ducks! Sorry. Deal breaker. I like to dress in character, so according to THE MAN, I need to choose a character wearing pants.

Gen Con 2013 recap and the D&D Championship visits the Lost City

3 Replies

I’m back from Gen Con and four days of terrific gaming.

For this year, Wizards of the Coast elected to focus its attention on exposing as many as possible to Dungeons & Dragons Next, and so they dropped all Living Forgotten Realms events from the convention. Pushing D&D Next seemed to work. Players new to D&D Next filled my tables and I met a lot of Pathfinder devotees willing to sample the new D&D system.

The lack of LFR disappointed some players and judges, but I appreciated the chance to run D&D Next for the first time. The absence of LFR at this convention doesn’t signal the end of fourth edition or of Living Forgotten Realms. New LFR adventures are coming. The Winter Fantasy convention will feature a slate of LFR events, including a new, paragon-level battle interactive.

2013 D&D Championship – battling Zargon in the lost city

Although I dungeon mastered the Crisis in Candlekeep delve twice, my DM highlights came from running the Murder in Baldur’s Gate launch adventure three times. Murder in Baldur’s Gate forced me to develop an aspect of my DM skills that I’ve rarely exercised in the past. I’ll write about that in an upcoming post.

As usual, playing the 2013 Dungeons & Dragons Championship delivered as much fun as I ever have playing D&D. The Championship features a lethal adventure intended to test even the best teams of players. The unforgiving challenge brings a sense of peril that you never see in typical adventures, because in typical adventures the odds always favor the players. The event’s time pressure amps up the urgency and demands fast play.

The Lost City (1982) by Tom Moldvay

This year the author of the championship adventure, M. Sean Molley, created a tribute to the 1982 Lost City adventure by Tom Moldvay. The first round dared teams to recover three staffs from locations in the lost city. Earlier fourth edition championships played solely as tactical miniature battles, but this year’s adventure added puzzles to the mix—a welcome nod to the old tournament classics. The final round required characters to use the staffs in a fight to destroy past and present versions of Zargon, the evil demigod of the lost city. I marvel at how skillfully a battle with so many variables was balanced on the narrow line between difficult and impossible.

As a dungeon master, I admire the DMs in the championship, who must play fast, fair, and show total command of the rules. They do enjoy some perks: Where else can a DM coupe de grace a fallen character without straining D&D’s social contract? Even among this elite crew, our DMs Brian and Sean stood out as exceptional. Plus, our DM for the finals happened to be the adventure’s author.

I played on the team that claimed second place—for the third year in a row. We’re like the 1990-1993 Buffalo Bills of the D&D Championship. Still, I’m thrilled to do well.

Will next year’s Championship be the first to feature the next iteration of the D&D rules?

Picturing the dungeon – boxed text

3 Replies

As a dungeon master, I work to avoid confusion at the table, but from time to time, players misunderstand something in the game world. “If I had realized the standing stones were only 18 inches high, I wouldn’t have tried to climb them.” Sometimes distracted players are to blame, but most of the burden falls on the dungeon master’s ability to describe.

In Melee, Wizard, and learning to love the battle map and Battle maps take over Dungeons & Dragons, I wrote about how maps and minis help everyone understand what is happening in the game. In this post and the next, I want to discuss two more things that help everyone at the table understand.

Boxed text

In 1979, Hidden Shrine of Tamoachan introduced boxed text descriptions for the DM to read when the players entered a location. The Hidden Shrine originated as the adventure used for the “Official Advanced Dungeons & Dragons tournament at Origins in ’79.” The boxed text provided a way to offer a consistent play experience in a competitive environment.

I know first hand about the importance of consistent descriptions in a competitive D&D environment. As I’ve suggested before, I like playing in the D&D Championship tournament at GEN CON. In 2012, the final challenge required you to close six arcane gates while demons poured out. As the challenge began, the DM dutifully read the boxed text, which included a description of mysterious runes on the pillars in the room. Like any good boxed text description, the text mentioned the runes alongside other, less important details. No one on my team appreciated the runes significance, so we failed to discover that disabling the runes reduced the extremely difficult arcana checks required to close the gates. Later, as we waited for the event results, we all wondered how we managed to overlook the runes. We could not blame the DM’s wording, because every team heard the same boxed text. (Despite the oversight, my team performed well enough to place second. Still, if only…)

The boxed text innovation lives on, but not for its original purpose of leveling a competition. The introduction to the Hidden Shrine advises DMs to “read the module thoroughly several times before play starts.” Now boxed text exists to spare DMs from having to read a module several times. When you have to run a published adventure without a lot of preparation, boxed text avoids the stumbling descriptions that come when you must comb through the text for relevant details.

Boxed text does have a drawback. When most speakers read something aloud, their voice takes a different tone and cadence than when they speak extemporaneously, and that monotony can cause players’ attention to wander. Perhaps too many boxed text descriptions have lingered on descriptions of the color of the sunset and other bits of obviously unimportant fluff. For this reason, when I know the content well enough, I paraphrase boxed text. Still, even for DMs who never read boxed text, it helps. No one has shown a better way to summarize what the players must learn when they enter a room.

Do you think DMs should read or paraphrase boxed text?

Next: Picturing the dungeon – keyed illustrations

Battle maps take over Dungeons & Dragons

10 Replies

Early versions of Dungeons & Dragons always included miniature rules for movement, range, area effects, and even for actions similar to attacks of opportunity. But I never witnessed those rules in action. They seemed to require miniatures. Collecting miniatures cost a lot of money and invited another hobby consisting of painting miniatures.

D&D second edition arrived in 1989 with the usual easily abstracted and easily ignored rules for miniatures. However, six years later, Player’s Option: Combat & Tactics finally introduced the gridded battle map to D&D. In the Foreword, Skip Williams promises that, “You will find plenty of ways to make combat more than a dice-rolling contest or an exercise in subtracting hit points from your character’s total.” Combat & Tactics reads like an early draft of the third edition combat rules, complete with rules for opportunity attacks, reach, and cover. Combat & Tactics probably scared more players away from battle maps than it converted. The supplement moved deep into wargame territory, with over 250 pages of rules for facing, fatigue, and things like direct and indirect bombardment.

TSR supported Combat & Tactics with The Gates of Firestorm Keep, which Dungeon magazine ranked at number 11 on its 2004 list of greatest Dungeons & Dragons adventures. The Gates of Firestorm Keep started the tradition of including printed battle maps for major encounter areas, and also included cardboard counters for the monsters. So The Gates of Firestorm Keep stands as the first adventure to invite D&D players to use a battle map.

Update: A few adventures prior to Firestorm Peak featured both battle maps and cardboard counters. See “Early combinations of adventures with battle maps” for more.

The complete change in approach arrived with third edition, co-designed by Combat & Tactics co-designer Skip Williams. When third edition debuted at Gen Con, vendors such as Chessex immediately sold out of their battle mats. While the third edition rules tried to phrase its rules so you could play without a map, everyone used a map, so 3.5 abandoned any nod to play without one.

For most folks playing D&D in 2000, the adoption of battle maps represented a big change. For instance, I played all three rounds the D&D Open tournament in 1999, and none of the DMs resolved combat on a map. (Now the D&D Championship plays as a tactical miniatures challenge. Still fun, but very different. In the lower left corner of the photo, you can see my figure, a turn or two away from being treated like a steak in a Benihana by a marilith.)

Fourth edition showed that some of the D&D community will rebel if an edition fails to adequately support their favored play style. But the third edition’s switch to battle maps brought no rebellions. Everyone started using maps and figures, and almost everyone felt the addition improved the game. Maps and figures enable all the players to share a clear understanding of the battlefield with the DM. The maps enable the tactics that make fights interesting.

Fourth edition brought changes that can make D&D combat more dynamic and exciting than ever, but some of the changes have threatened to sour players’ attitudes toward the battle map. Fourth edition forces every encounter to be a big set piece, and often these battles seem to take too long.

The set-piece problem comes from encounter design. Fourth edition works to prevent one-sided fights by bringing greater formality to what constitutes a combat encounter, and what adversaries the players can expect to face. This puts a stake to the heart of the old-school possibility of stumbling into 30-300 orcs, but it also eliminates short encounters where just you slew their sentry. In fourth edition, every encounter requires a battle map, because every encounter takes the same scale.

The problem of long combats has prompted much discussion, but I do not blame the map. Most players used maps in third edition, and the few who complained about the length of combat typically favored the non-combat pillars of the game.

So when D&D Next comes out, I’ll embrace it, but I’ll still use my battle maps.

Next: Solving the limitations of battle maps

DMDavid

Dungeons & Dragons design, advice, tools and inspiration

Tag Archives: D&D Championship

How Character Death Lands D&D in a Tug-of-War Between Game and Story