Tag Archives: Teos Abadia

Getting Players Moving, Especially When No One Wants to Drive

If you game master enough roleplaying games, you will eventually land a session that keeps stalling because no one wants to drive—no one wants to speak for the group. For instance, if the party has to pick a restaurant, then everyone spends 10 minutes saying “I don’t care. What do you want?” We’ve all been there, just probably not while in a dungeon. Most often, such tentative groups form when strangers meet for a game, often at conventions. But any group can lag, and the techniques for nudging a party ahead can prove useful beyond a convention hall.

To be clear, not every lull in a game needs an intervention. If the group enjoys slowing to roleplay, let it flow. If a group starts planning for the challenge ahead, then sit back and relish it. These situations show a group immersed in the game world. Score a win for the dungeon master.

Sometimes folks in a group of strangers feel presumptuous speaking for the whole group. When everyone keeps hesitating to call shots for the group, many DMs smooth the way by asking for individual decisions. “Making a choice for your character seems less daunting than making one for the group. Low stakes choices can break the ice,” writes Louis Bamberger. “Recently I ran a group that was pretty quiet. Their characters were at a town carnival, so I asked them what game they would play and what food or drink they would order. After each person explained their choices, a snowball of enthusiasm grew with each person’s answer.” By the end of the session, a group of players new to roleplaying games felt eager for another go.

Die rolls, even inconsequential ones, make another good ice breaker. Teos “Alphastream” Abadia gives an example. “In a marketplace, have an arcane character make a bogus check to point out a vendor’s wares could be spell components, just to get them to talk. Data tends to help us make decisions, so skill checks, even granting minor information, tend to help move us to action.”

When I serve as DM for tentative group, I tend to make two adjustments.

First, I pose more choose-your-adventure-style choices.

This helps narrow a limitless range of options to a menu of sensible actions. At worst the table can vote. Often I nominate one player as caller-for-the-moment to make a decision. DM Tom Christy sometimes selects the most charismatic character—the natural leader. You can also nominate a leader based on circumstantial qualifications. Underground, let the dwarf choose the way. At a masquerade, the bard would lead.

Second, I may increase the amount of information I give before I ask the players what they want to do. This decreases the number of minor, often inconsequential, choices slowing the group.

With a typical group, when the players meet a character with clues to share, or when the players enter a new location, I withhold some easy discoveries. This gives players more to learn as they talk and investigate. This rewards action and leads to a more interactive game. So if the room has a mosaic, I’ll assume someone will take a closer look. If a wizard’s apprentice reveals that the archmage sought reagents, I’ll assume the party will ask for details. For most groups, this technique leads to a better game.

But if a tentative group needs to know that the archmage intends to make a golem, then the apprentice may become chatty. And I’ll just tell a hesitant group that the mosaic shows a priestess burying a scepter under a mountain with three peaks.

I don’t welcome such adjustments. They can feel like I’m dragging a particularly halting group to the finish, but no one wants a game that lags.

Phil Vecchione notes that groups become indecisive when they lack enough information to make a choice. He suggests bridging that information gap. Start by recapping what the players already know. Players feel confused more often than they ever admit—and more than we DMs care to admit. Share any useful information that the characters may know based on their in-game expertise. The characters live in the game world; the players just visit.

As an ultimate remedy, Phil suggests upping the urgency by adding new developments in the game world. So if the party continues to dither at the door, have something open it from the other side.

You Can Play These Supreme D&D Characters, But Should You?

When I drafted my list of supreme character builds for Dungeons & Dragons, I originally included a section that asked, “You can play this, but should you?” The answer became this post, but why even ask?

In a comment, designer Teos “Alphastream” Abadia identified the supreme builds as enjoyable concepts, but “generally horrible at the table.” Although any character can fit the right game, some optimized builds reduce the fun at most tables. Teos writes, “For me, the biggest social contract item for players is to contain whatever optimization they cook up to reasonable and fun levels.”

D&D’s design aims to create a game where all a party’s characters get to contribute to the group’s success. When a single member of the group starts battles by one-shotting the monster with a huge burst of damage, or one character learns every skill to meet all challenges, then that character idles or overshadows the rest and makes the other players wonder why they showed up.

Most skilled

DM’s guild designer Andrew Bishkinskyi singles out one optimization to skip. “The most skilled character is made to do everything, and exists by design to exclude others from play, which I don’t want.”

Early editions of D&D embraced this kind of specialization. Thieves started as the only class with any capabilities resembling skills, but rated as nearly useless in a fight. Nowadays, D&D’s class designs aim give every class ways to contribute through all the game’s three pillars of exploration, combat, and roleplaying interaction.

Most damaging

Combat makes a big part of most D&D games, so characters optimized for extreme damage tend to prove troublesome. I’ve run public tables where newer players dealing single-digit damage would follow turns where optimized characters routinely dealt 50-some points. I saw the new folks trade discouraged looks as they realized their contributions hardly mattered. DM Thomas Christy has hosted as many online D&D games for strangers as anyone. He says, “I have actually had players complain in game and out about how it seemed like they did not need to be there.” In a Todd Talks episode, Jen Kretchmer tells about asking a player to rebuild a combat-optimized character. “The character was a nightmare of doing way more damage off the top, and no one else could get a hit in.” See Sharpshooters Are the Worst Thing in D&D.

D&D’s strongest high-damage builds make ranged attacks from a distance. Such builds can leave the rest of the party to bear the monsters’ attacks. Teos Abadia writes, “Even if we don’t have character deaths or a TPK, a ranged character can create a frustrating situation for the other characters, who find themselves relentlessly beaten up, constantly targeted by saving throws, and harried by environmental and terrain damage. Over the course of a campaign, this can be tough for the party. Players may not even realize the cause. They simply find play frustrating and feel picked on. If the ranged player keeps saying, ‘hey, I didn’t even take any damage—again!’ the rest of the party might start to realize why.”

If you, like everyone, enjoy dealing maximum damage, I recommend a character powered by the Great Weapon Master and Polearm Master feats. See How to Build a D&D Polearm Master That Might Be Better Than a Sharpshooter. If you favor a ranged attacker, the strongest builds combine Sharpshooter, Crossbow Expert, and an Extra Attack feature. In a typical game, pick two.

Biggest damage novas

A few D&D players welcome characters capable of starting a fight with a huge burst of damage for an unexpected reason: These gamers find D&D’s combat pillar tiresome. By bringing a fight to an immediate end, a nova just brings the session back to their fun. Perhaps these games need a better approach to combat, or even a switch to a different game.

In groups more interested in roleplaying and exploration, players might not mind letting an optimized character showboat during the battles. Or perhaps others in the group feel content in roles other than damage dealing. Perhaps the bard and wizard both enjoy their versatility, the druid likes turning into a bat and scouting, and nobody minds letting you finish encounters at the top of round 1.

But most gamers enjoy a mix of the D&D’s three pillars. For these players, characters designed to start fights with maximum damage prove problematic because when they work, no one else participates. “The issue is that even if those characters don’t completely trivialize an encounter, they can reduce the fun of other players by taking a disproportionate amount of the spotlight,” writes @UncannyPally.

You can’t blame the players aiming for these builds. The occasional nova can create memorable moments.

“It’s only fun the first few times a character charges in and essentially one-shots the boss before you get to do anything,” writes @pocketfell. “And of course, upping the hp of the monsters just means that when the mega-damage PC doesn’t get lucky, it’s a slog through four times the usual number of hp.”

I suspect that D&D class features that power damage spikes steer the game in the wrong direction. However, I respect D&D’s designers and they seem to welcome such features. For example, paladins can smite multiple times per turn. In more recent designs, rangers with the Gloom Stalker archetype begin fights with an extra attack plus extra damage. The grave domain cleric’s Path to the Grave feature sets up one shots by making creatures vulnerable to the next attack.

Surely, the designers defending such features would cite 2 points:

  • Players relish the occasional nova. They can feel like an exploit that breaks the game, delivering a quick win.
  • Some spells shut down an encounter as well as massive weapon damage. Fair’s fair.

I argue that encounter-breaking spells rate as problematic too, but D&D traditionally limits such spells to a few spellcasting classes, often at higher levels and only once per day.

Highest AC

I accept that as a DM controlling the monsters, I will almost always lose. A defeat for my team evil counts as a win for the table, so I welcome the loss. But I must confess something:  For my fun, I like the monsters to get some licks in. Is that so wrong? Under suggestion and zone of truth, I suspect other DMs would echo the same admission. Some gamers even float the courageous suggestion that DMs deserve fun like the players.

A character with an untouchable AC doesn’t rob the spotlight from other players, but for DMs, such characters become tiresome. If you back up a maximum AC with, say, a class able to cast shield and block those rare hits, then your DM might not show disappointment when you miss game night.

To be fair, players who sell out for maximum defense wind up with few other strengths. These players enjoy their chance to shine at the end of every fight when they crow about not taking damage—again! I’ve learned to accept their source of bliss and welcome their characters. They may soak attacks, turning claw, claw, bite into useless flailing, but I can always add more attacks to go around.

Toughest

In theory, tough characters should trigger the same annoyance as untouchable characters, but the barbarians and Circle of the Moon druids actually suffer hits, so their durability feels different.

In tactically-minded parties, tough characters and characters with high AC fill a role by preventing monsters from reaching more fragile characters. If your group favors that play style, your DM surely dials up the opposition past very strong and also pairs smart foes with clever strategies. Optimized characters of all sorts often fit that style of play.

Fastest

Nobody minds a fast character. I love playing monks who speed around the battlefield stunning everything in their path. However, those stun attacks certainly bring less acclaim. See How to Build a D&D Monk So Good That DMs Want to Cheat.

Most healing

If you play the healer and miss game night, everyone feels disappointed. ’Nuff said.

Related:
If D&D Play Styles Could Talk, the One I Hate Would Say, “I Won D&D for You. You’re Welcome.”
10 Ways to Build a Character That Will Earn the Love of Your Party

D&D and the Role of the Die Roll, a Love Letter

If you want your D&D game to tell a story, why bother with the dice? Why bother with a random element capable of foiling our plans?

The fifth-edition Player’s Handbook calls Dungeons & Dragons a game about storytelling in worlds of swords and sorcery. If D&D players only wanted to collaborate on stories, we could join a writers’ room and pitch dialog, beats, and character arcs just like in Hollywood, but without the paychecks.

Instead, we add dice.

The oldest known d20 comes from Egypt dates from somewhere between 304 and 30 B.C.. The die may have rolled in a game, but oracles may have cast it in divination rituals. Blogger James Maliszewski writes, “There’s something powerfully primal about tossing dice and waiting to see the numbers they reveal.” Like an oracle’s die, our dice lead our characters into an unknowable future. The dice make us surrender some control, because they add the risk that the story won’t go as we plan. Events beyond our control make the game unpredictable and exciting. We embrace that.

Surprise

After countless stories, we all start to see patterns repeated. We still enjoy them for many reasons, but even the best can seem like a familiar dance performed well. So when a tale breaks the pattern, the unexpected becomes riveting.

Stories from D&D games can follow patterns of their own. Two combat encounters plus a roleplaying interaction take us to the big bad, and then to dividing treasure. We dungeon masters have an extra incentive to follow the expected track that we prepared, so the dice help us let go. They nudge us off course and remind us to welcome uncertainty. Writing about dice and random encounter tables, Teos “Alphastream” Abadia explains, “Such tables help to remind the DM that chance can and should be a powerful element. It can be a subtle reminder that the printed page isn’t one single script and that different outcomes (whether on tables or not) are good.”

D&D lead rules designer Jeremy Crawford likes how rolling in the open forces him to honor the outcome of a roll even when his own inertia might sway him to override it. “As often as possible, I like to stick with whatever the dice tell me, partly because as a DM I love to be surprised. I love that sense whenever I sit down at any table where I’m DMing I don’t actually know what’s going to happen because I don’t know what the dice are going to say. The dice can turn something I thought was going to be a cakewalk into a life or death struggle.”

Creativity

The dice in D&D, especially when combined with random tables, can fire imagination. Forget dice for a moment and think of the power of random thoughts colliding to fuel creativity.

Poet William S. Burroughs coined a cut-up method of writing where he scrambled words on scraps of paper and then assembled the jumble into new poems. If poetry seems too high-minded to connect with a game rooted in pulp fantasy, then consider this: Rock musicians like Curt Cobain, Thom York, and David Bowie used the technique. Burroughs asserted, “Cuts ups are for everyone.”

David Bowie explains his use of the process, “You write down a paragraph or two describing several different subjects, creating a kind of ‘story ingredients’ list, I suppose, and then cut the sentences into four or five-word sections; mix ’em up and reconnect them. You can get some pretty interesting idea combinations like this. You can use them as is or, if you have a craven need to not lose control, bounce off these ideas and write whole new sections.”

Bestselling DM’s Guild author M.T. Black uses a program to make random lists of titles, plots, and other idea seeds. He explains, “I use randomness all the time when I’m creating an adventure. Otherwise I find I’m just slipping back into very comfortable tropes and ideas. Randomness really helps me bring something fresh to the table.”

Creation doesn’t stop during writing and preparation. It extends into the game session when the dice inject that random element.

Fairness

Random chance separates the players’ success or failure from the dungeon master’s fiat. In a role-playing game, no one wants the DM to control the characters’ fate. When player characters succeed, the players want credit for the victory; when PCs fail, the DM wants the dice to take the blame.

Random rolls reduce the DM’s power to control the game. In a sense, these rolls unite DM and players in a shared enterprise. Everyone watches the roll of the dice together and shares the surprise when the result shows where fate will take them.

D&D historian Jon Peterson writes, “Die rolls impart to players a sense of fairness, they also give the referee a way to decide events impartially when they can’t trust themselves. Back when referees were adjudicating between competing parties (and in early D&D, they still were, sometimes). Referees needed a way not to show favor, even unconsciously, to one competing party over another. Dice play an important part in hedging against the risk of unintended bias.”

In modern D&D we tend to associate dice with the attacks, checks, and saves at the core of the game, but the games’ founders used dice to impartially settle questions about the game world. Many DMs still roll to direct a monster’s attack, but otherwise the technique seems faded. Now we seldom roll to learn a shopkeeper’s disposition, or the guards’ morale, or for the weather. To settle these and other questions in the game, we seldom think to just ask the dice.

D&D adventure designer Will Doyle knows the technique’s power. “I use ‘lucky rolls’ literally all the time. For example, player is sneaking down a corridor, I call for them to make a lucky roll to see what happens. On a 10 or above, it’s probably clear. Roll lower than that, and guards come whistling along.”

Preference

Ultimately, how much your rely on luck depends on your taste for a game that can feels as surprising and as messy as life. James Maliszewski associates a big dose of random chance with old-school gaming and writes, “Much like life, old-school gaming is often ‘just a bunch of stuff that happens’ and sometimes that stuff can be frustrating, boring, or even painful. The only ‘meaning’ that stuff has is what the players and their referee bring to it.”

How much of the future do you and your players want to force, and how much do you want to keep unexpected?

“What do dice represent?” D&D video creator Matt Colville asks. “They represent the future and the fact that the future is ultimately unknowable,” “You know we may know the odds of the different horses in a race and who’s likely to win and there may be a horse that is very heavily favored to win, but that doesn’t mean that they’re guaranteed to win. No. Because the future is uncertain. That’s what the dice represent.”

Demi-Human Level Limits, D&D Adventurers League, Open Rolls, and More From the Comment Section

Time for another visit to the comment section, starting with a request.

DM Bill writes, “Could you do an article about humans versus non-humans, and the importance of the First Edition level cap, please!

Until third edition, Dungeons & Dragons limited non-human characters to maximum levels in most classes. D&D co-creator Gary Gygax favored the sort of human-dominated fantasy that appeared in the fiction that inspired him. To Gary, demi-human level limits explained why humans dominated D&D worlds despite the extraordinary talents and longevity of elves and dwarves. Gary wrote, “If demi-humans, already given some advantages, were as able as humans, the world would be dominated by them, and there goes the whole of having a relatively familiar world setting in regards to what cultures and societies one will find in control. So a demi-human is unlimited in thief level only, as that this a class not destined to control the fate of major groups or states.

I doubt the rare humans who become capable enough to overshadow non-humans really explain human prevalence in a D&D world, but the level limits encouraged playing human characters and tended to fill adventuring parties with humans. Of course, some groups simply ignored the rule.

Gary wrote, “Why are humans more able to rise to higher levels than demi-humans? Because the gods say so, and don’t like pointy eared types with curly-toed shoes, squat miners with big beards, hairy-footed midgets, etc.” Gary intended the comment as harmless fun at the expense of make-believe creatures, and in 2005 most readers read it that way. But now the comment reads in a way Gary surely didn’t consider. In our history, people have justified inflicting countless horrors on other humans by claiming that God disapproved of some group. Talking about even fictional half-humans like this raises uncomfortable echoes.

Nowadays, many players feel drawn to the exotic character races. In an apt post, John Arendt compares the typical Adventurers League party to the Munsters, a collection of exotic, monstrous types with perhaps one human for contrast. “When an AL player sits down with a shadar-kai shadow sorcerer, there’s no point in even asking them what they’re doing in a large human city; the players haven’t considered it. The culture is about players assembling races and classes because the mechanical bits sound cool.” I see many players drawn to exotic characters for their story, flavor, and for the chance to play someone who seems extraordinary even in a D&D world. That urge never succeeds as well as players hope. Even in the Forgotten Realms, a party that includes a deep gnome, a tortle, a triton, a shadar-kai, and a guy with flaming hair would alarm ordinary folks, but to keep the adventure on track everyone treats such groups as unremarkable.

D&D’s Animal Companions and Familiars—Choosing the Right Pet For Your Character

In D&D’s Animal Companions and Familiars—Choosing the Right Pet For Your Character I touted the power of find familiar.

Seven writes, “When used correctly find familiar is way overpowered. My owl scouts ahead so we don’t get ambushed. My owl flies down the tunnel triggering the glyph. My owl scouts the dungeon as I watch. Oh, it dies. Ok, I ritually cast. Let’s burn an hour.

I disallowed the Help action in combat for familiars and my players try not to abuse the power granted by the find familiar, but I miss the old days when you suffered a consequence when your familiar died.

Ilbranteloth writes, “Why can’t a spirit have a personality? Gwenhwyver was a magic item, but had a personality and sting connection to Drizzt. Having a personality is up the player. It has nothing to do with being a flesh and blood creature that only exists in our imagination.

If find familiar feels too strong for a 1st-level spell, I suggest limiting it by adding two elements:

  • Treat the familiar as an non-player character with an attitude and a some desire to avoid getting hurt. As controlled by the dungeon master, familiars follow orders, but not necessarily cheerfully or recklessly.

  • Doors. Scouting familiars lack the hands needed to open most doors.

The post also suggested find steed and find greater steed to players interested in gaining a mount.

Larissa writes, “Find greater steed is a 4th-level spell, so paladins won’t get it until level 13. For the greater steed, play a bard and take the spell at level 10, because for a paladin it’s a long wait.

Steal This Rule: Flashbacks and Heists in Dungeons & Dragons

The post Steal This Rule: Flashbacks and Heists in Dungeons & Dragons explained how to adapt rules for flashbacks to Dungeons & Dragons.

Morten Greis writes, “It is kind of weird to see flashbacks-mechanics coming back as if it was a wholly new thing. In 2010, I wrote this: Using Flashbacks in Your Roleplaying Game. It is a great mechanic, though, and it is good to see people using it more.

For gamers interested in flashbacks, Morten’s post gives more suggestions for using the mechanic to enhance your game.

Captain Person writes, “There’s a product on DMs Guild called Here’s To Crime: A Guide to Capers and Heists that adapts the Blades in the Dark heists to fifth-edition D&D.

Michael Lush writes, “‘The Arcadian Job’ episode of the Netflix series 3Below: Tales of Arcadia had an interesting flash-forward spin on this.

The protagonists need to break into a high security military base, but the action focuses on the planning session where they narrate what they are doing and their plans appear on screen.

We infiltrate under cover of night and cut through the wall with…BZZZZZZT!!! No, can’t do that! Look the wall is electrified…

We infiltrate under cover of night and short circuit the wall (failed Security roll. An alarm rings, guards show up, and we die in a hail of blaster fire! No, can’t do that…

OK. Infiltrate under cover of night, insulate the wall with rubber matting (rolls a success), and climb over the…ZAP!! Oh sentry turrets.

Hmm. The wall is a bust. How about the gate?

Once they bypass all the security, the flash-forward planning switches back to normal real-time play.

In a tabletop game, such planning steps would resemble a video game where when you run into trouble, you restore to the last save. The story that develops includes no failures because the framing story shows how the players planned around all the pitfalls.

The 3Below episode finds a new take on the usual storytelling approach to planning. Typically, if the characters make a plan on screen, we know the plan will fail. The narrative lets us enjoy the surprise and tension of seeing the plan unravel. But if we never see the planning, then the plan succeeds. Narratives never show heroes making successful plans because revisiting a familiar plan as it unfolds would prove less interesting.

lunaabadia writes, “One of the mechanics I really like in Gumshoe games such as Night’s Black Agents is the Preparedness skill. It represents this concept that your character has a knack for planning. As with other skills in the game, you spend one or more points to add to a roll for what you are trying to accomplish. You might say, ‘but of course I brought night goggles,’ and you make the roll. As you noted above, the whole point is to zip past the boring hours players can spend wondering what gear to bring. Preparedness answers the question of whether you brought it and frees players’ brains to focus on the action.

I would guess Preparedness could be done with Inspiration, and in a heist session it could make a lot of sense to give each player Inspiration at the start of the mission, representing their planning. Do you spend it on a roll? Or do you hold it in case you need to do a flashback?

7 Dungeons & Dragons character builds absurdly good at one thing

The post 7 Dungeons & Dragons character builds absurdly good at one thing continues to attract readers and comments.

Geoff writes, “Disciple of Life doesn’t apply to goodberries. It says ‘whenever you use a spell of 1st level or higher to restore hit points to a creature, the creature regains additional hit points.’ Goodberry is a spell that summons magical berries, not a spell that restores hit points to a creature.

Your interpretation adds up, but officially the interaction works. See this Sage Advice post.

Chivalry & Sorcery: What if Gary and Dave had not found the fun?

In Chivalry & Sorcery: What if Gary and Dave had not found the fun?, I had a bit of fun at the expense of one of the earliest fantasy roleplaying games.

Shane Devries tells how his group started playing Chivalry & Sorcery by ignoring most of the rules, and then slowly added complexity. “Over a period of a couple of years we were playing the entire system as written and NEVER looked back. Over time D&D and Palladium dropped away and by 1985 all we played was Chivalry & Sorcery, which we still play to this day. All my players prefer C&S BECAUSE of its complexity and revel in the system and what it has to offer. The older players in my group with decades of experience will not go back to D&D or any other system for this fact.

Why You Should Play in the D&D Adventurers League (and a New 1-Sheet Quick Start)

The post Why You Should Play in the D&D Adventurers League (and a New 1-Sheet Quick Start) prompted some readers to share their bad experiences dropping in for Adventurers League games.

Alphastream responds, “The experience really varies, but bad areas are uncommon. I’ve traveled for work across the US and tried many different stores. I would say under 15% are truly bad, primarily due to bad store management. And, even when I’ve found a bad one, I’ve offered to DM an additional table, recruited players via MeetUp (or a similar site), and had a great time. I’ve had far better results finding AL tables and meeting cool players/DMs there than I have with trying to find decent home groups. Good stores are also very welcoming to new players. Stores overall are changing a lot these days, mastering skills to draw in customers through many different programs and creating healthy and safe spaces focused on fun.

My local game store draws players interested in sampling D&D, and while many become regulars, many don’t return. The conversion rate rises when prospective players arrive at a table starting a new campaign or hardcover. When players get slotted into an ongoing game, they seem to find the experience more daunting. An ideal welcome would feature short seasons of low-level games that fed into a higher-level experience. Wizards of the Coast should support a program like that. I can even suggest a name for it.

How New Changes Created the 4 Most Annoying Spells in Dungeons & Dragons

In How new changes created the 4 most annoying spells in Dungeons & Dragons, I wrote, “By the end of the encounter, player characters go from one beguiled victim to the next, raining attacks on the defenseless pinatas. As a DM, I may be biased, but I think the least fun scenes in the game come when PCs beat helpless foes to death.”

Acemindbreaker writes, “Why play that out? If it’s clear that their opponents stand no chance, montage it instead of rolling the dice. ‘So, your opponents are all helpless as long as your wizard keeps up hypnotic pattern. Are you intending to kill them all?’

‘Yeah.’

‘All right, easy enough to do. Once they’re all dead, what next?’

Zachiel cites maze as an annoying spell that can wreck most player characters. Wizards aside, PCs never boast enough intelligence to make a DC20 check on less than a 20. Lucky for players, few will ever face the 8th-level spell. However, the spell appears on Acererak’s list in Tomb of Annihilation, so I got to send someone to the labyrinth, and that delighted me. My joy probably makes me a mean DM, but we DMs so rarely get to thwart players with such potent magic.

How to Run Better D&D Games By Doing Less

How to Run Better D&D Games By Doing Less suggested ways DMs can delegate some of their tasks to players.

Daniel writes, “My players enjoyed reciting expository dialog (usually in the form of flashback conversations involving NPCs). Maybe this is because some of them had more of an acting background than a gaming one. It does mean that I had to compose and print the dialog in advance but it then saved me having to do too much talking (and switching personas) during a session.

In D&D, Letting Everyone Roll Certain Checks Guarantees Success, So Why Bother Rolling?

The post In D&D, Letting Everyone Roll Certain Checks Guarantees Success, So Why Bother Rolling? raised a question that drew plenty of interest.

RobOQ writes, “As a player I tend to get annoyed at rolling for every imaginable thing. I prefer, both as a player and a DM, to go by the rule of ‘if there isn’t an interesting outcome to both success and failure on the roll, leave the dice where they are and just describe the more interesting outcome.’ I see very little point in rolling dice where a failure means the situation doesn’t change at all.

Insight Played Wrong Can Become the Most Unrealistic Thing In D&D, a Game With Djinns In Bottles Who Grant Wishes

In Insight Played Wrong Can Become the Most Unrealistic Thing In D&D, a Game With Djinns In Bottles Who Grant Wishes, I betrayed a low passive insight by suggesting that a liar might avoid eye contact.

Dr Sepsis writes, “Someone who is lying is more likely to make eye contact as they check to see if they’re being detected.

HDA writes, “Instead of rolling dice to get information, make your players think, observe, ask questions, learn from the world around them. As the DM playing a non-player character, maybe raise your eyebrow a bit. You know, emote. What is even the point of having intrigue and deception in your game if the players can just roll to see through it?

8 Fast Facts About D&D’s Magic Missile Spell

In response to 8 Fast Facts About D&D’s Magic Missile Spell, Kristen Mork pointed me to Sage Advice that said each magic missile should provoke a separate concentration check.

This answer defies the answer the design team gave when they introduced the game, but fine. In practice, the newer ruling makes magic missile an efficient way to break concentration and to finish fallen characters. (See Can a DM Have Monsters Kill Fallen Characters Without Bringing Hurt Feelings?)

After penning my 8 facts, I watched a Q&A panel by TSR editor Tim Kask that expanded on one. Gary Gygax’s debates with Tim helped shape Advanced Dungeons & Dragons. “The only thing that I won was that magic missile always hits for damage,” Tim said. “It took me two-and-a-half weeks of arguing. I kept telling him that that’s the only thing the little guy gets and if it’s hit or miss, then he’s dead.”

Dan writes, “I would actually argue that the magic missile and shield spells were inspired by a bit earlier in that scene from The Raven, whereby Karloff produces magical knives and an ax and sends them toward Price, who blocks them with magic barriers.

The small exploding balls at the beginning of your embedded video are much more likely to have been what inspired Melf’s Minute Meteors.

Steve Blunden writes, “Seeing both these clips, and of course the wizard duels in Harry Potter inspired me to see if the rather colourless counterspell could be dramatically improved. When a character tries to cast counterspell, the player should be encouraged to describe what this might look like. E.g. if counterspell is used against fireball, the player can describe the counterspell as a jet of water leaping out of their hand to douse the fire.

In Making Counterspell Awesome, Mike “Sly Fourish” Shea recommended this approach.

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

The post How Character Death Lands D&D in a Tug-of-War Between Game and Story prompted alphastream to share some history.

Second edition and earlier simply had fragile PCs. You could die easily, end of story.

Third edition had monsters that were absolutely brutal at all tiers, plus some really exploitable loopholes (such as non-associated class levels) that created sky-high challenges. This all meant that if the DM knew how to craft monsters,characters could easily die, even when they had full hit points. Unfortunately, it was incredibly taxing to modify monsters.

Fourth edition gave PCs too much of a safety net between hp and healing surges, though the edition also had some amazing challenges (especially after the developers went back and corrected the monster design math).

Fifth edition on paper looks more fragile than 4E, but it has not been in play. Characters are very resilient and have a lot of hit points compared to monster damage. Monsters are often given special abilities and to balance that they do less damage, but the abilities don’t actually threaten PCs with death. This problem is even worse at high tiers of play, where monster damage is absolutely shameful. Most monsters have no chance. If they hit 100% of the time they still could not drop all the PCs to 0 hit points. And when that isn’t the case, there is no way for the PCs to be defeated in most fights. To me, the 5E solution is pretty simple: add damage.

Abelhawk writes, “I have a couple of house rules that make death a bit more dangerous and limiting:

1. When a character is brought to 0 hit points, they gain a level of exhaustion. Levels of exhaustion gained in this way go away after a short rest, or if the character is brought to half their hit point maximum.

2. When a character dies and is brought back to life, they receive one permanent death saving throw failure. A character with three permanent death saving throw failures cannot be brought back to life by any means.

Imposing exhaustion on characters raised from 0 hp rates as a fairly popular house rule. As for the second house rule, I like the idea of limiting characters to some maximum number of resurrections.

Turning Character Deaths in D&D Into Deals that Benefit Game and Story

In the post, Turning Character Deaths in D&D Into Deals that Benefit Game and Story, I wrote, “If D&D players wanted a game where fighting rated as a last resort, they would play Call of Cthulhu or the Dallas Television RPG, where you can’t shoot JR.”

Jacob Blalock responds, “Most people who want to play have to take what they can get in terms of finding a group to play with, and that means they mostly play the most recent edition of the most widely recognized RPG, 5th-edition D&D.

Jacob makes a fair point. Some roleplaying gamers play D&D because the game’s popularity makes finding a group easier, rather than because the game perfectly suits their tastes.

Cymond writes, “I was recently considering the idea of a house rule: Let a dying character remain conscious but unable to act or speak loudly. You can still have those dramatic deathbed moments where they confess their eternal love, beg to be avenged, plead with the unscrupulous rogue to please save the world, etc. Or maybe say that they don’t die immediately after 3 failed saves, but are beyond saving with anything less that the same things that would resurrect them, and save the deathbed moment until after combat.

Tardigrade writes, “I strongly feel that if a character death is a problem for your narrative, then you’re playing the game wrong. If you are narrating a story, go write a book. If you are trying to create an experience that challenges players, then play D&D, design the game so that their choices matter and don’t fudge the dice.

BlobinatorQ responds, “Ultimately it comes down to the group. If the group wants D&D to be nothing but challenges, and wants the stakes to be high with character death always on the table, then so be it. If the group wants to build and be invested in a narrative, and don’t want people left out of the experience due to some unlucky dice rolls, then things should be crafted to suit that. There is no one right way to play D&D, it can be a very different game for different groups.

When I explained the problems that death creates for a story, I focused on the story a particular player imagines for their character. The story of a D&D campaign can stand some character deaths, but that doesn’t cushion the blow a dead character brings to their player.

Ilbranteloth notes that the 1st-edition rules for characters at 0 hit points were forgiving, giving players at least 7 rounds to help a fallen character.

What differs significantly are the consequences of your near-death experience. And this is where I think 5e has made it much less of a thing. In AD&D, if you were reduced to 0 hp, then once you were restored to at least 1 hp with mundane OR MAGICAL means, you were in a coma for 10-60 minutes. Then you had to rest for a full week, minimum. A Heal spell was required to avoid this period of rest.

There was a significant consequence already built into the game for dying and we avoided it because it generally put the adventure on hold while the party headed back to town to rest and recover.

In most cases, it also meant nobody was out of the game. The entire party went to town to rest and resupply, and of course you didn’t have to play that out. So it was a short, we-failed moment.

If this one rule was still in effect, then the risk of death is back, without having to kill any PCs. And it also has the effect of reducing the risk of actual character death because players try to make sure they aren’t reduced to 0 hp.

I have now learned that when I played AD&D, everyone I played with got the rules for 0 hit points wrong.

The post Print My Custom D&D DM Screen to Defeat the Basilisk explained why I typically use a DM screen.

Alphastream writes, “When I run organized play games and don’t use a screen, I get maybe one person every four or so tables that can’t help but look at my notes. And when that happens, they tend to look often… enough that it distracts me! So, I tend to use a screen. Plus, I like collecting/buying screens and then I get to show them off.

I find screens can be effective for drawing attention from others. In a public space where that’s valuable, such as to get other people walking by to be interested and sit down, it can be an asset.

The least valuable aspect of a screen, for me, is what’s printed on my side. Outside of a few things, such as conditions, dispel magic, and counterspell, I never look anything up. What I’ve been doing lately is draping two pieces of paper taped together over one part of my screen. Facing the players is a map of the general area of the world. Facing me is a list of the character names and info I want for help with roleplay: race, background, class/subclass, etc. I add a list of important campaign NPCs and similar notes. That’s stuff I reference all the time.

I have one young player who finds the basilisk so irresistible that I often see his eyes rise like Kilroy over the top of my screen.

The post’s sidebar explained why I roll in the open and raised some debate.

I wrote, “If I had rolled behind the screen and simply announced a pair of crits, the event would have fallen as flat as a card trick on radio.”

Navy DM responds, “If players have that low level of trust in their DM, then that is a whole different issue.

Sam replies, “Sounds more like the excitement and watching the dice roll than not trusting what the DM rolled to me.

Marty replies, “Exactly. The tension comes from seeing the rolls and reacting. Rolling in the open has completely changed my game for the better.

Most DMs who roll behind the screen acknowledge that they occasionally override rolls to shape play, aiming for a better experience. Rather than players trusting their DM to stick to a die roll, I assume the players trust the DM to not abuse their privilege in some way. What would count as a betrayal of trust?

To be clear, I make some rolls in secret to conceal information from the players. I often roll hidden perception and especially insight checks to avoid revealing secrets.

Beyond the advantages I described in the post, rolling in the open forces me to honor any surprises the dice send my way. If a secret roll upends my plans, I might feel tempted to ignore the roll and take the comfortable path I expected. For me, rolling in the open feels a bit more exciting, like dungeon mastering without a net.

Other DMs feel like sometimes overriding rolls lets them craft a more dramatic game. I respect that perspective, but it’s not for me.

Secret D&D Games, Sharpshooters, Baby Orcs, and More From the DM David’s Comment Section

Time for another visit to the comment section. At the end, one reader tells a true story of how the Satanic panic drove a group’s Dungeons & Dragons games into secret, and what happened when concerned citizens learned of the underground game.

Strong Moral Dilemmas in D&D and the Unwanted Kind that Keeps Appearing

In Strong Moral Dilemmas in D&D and the Unwanted Kind that Keeps Appearing, I contrasted the moral dilemmas that reveal D&D characters against the baby-orc dilemma that dungeon masters should avoid.

Dan wrote, “The thing with the baby monsters from Keep on the Borderlands is that Gary Gygax never intended for the to be a moral dilemma. He assumed that all party members would be agreed on cleaning the place out, paladins included. When asked about it on the Internet in later years, he was somewhat incredulous that it even came up, stating that a properly-played paladin should view justice from a medieval perspective and would take the stance that ‘nits beget lice.’

Unlike Gary Gygax, today’s players often see humanoids as reflections of humanity. So tarring entire races of humanoids as irredeemably corrupt and worthy of extermination draws troubling parallels to the real treatment of real human groups.

Rasmusnord01 wrote, “I think of three things that can help avoid making the ‘baby-orc issue’ into a problem. (1) Have a leader of the group. In the hands of the right player, a designated leader can help resolve situations and keep the discussion from taking too long. (2) Avoid allowing mercy to come back to bite the players. (3) Make ‘evil’ humanoids more nuanced.

Teos “alphastream” Abadia wrote, “A friend of mine who used to write for Living Greyhawk said to me once that a great adventure teaches you something about your character. Over the years, that advice has stood the test of time for me. Great adventures help me better see my character’s personality and where they stand, and touch me emotionally or at a visceral level in some way.

Since that time, I’ve tried to write adventures where decisions (often but not always moral dilemmas) help you understand your character better. Maybe you swap bodies with someone else, so you see yourself from the outside and separate your personality from your frame. Who are you? Maybe you bring a spirit into yourself. What part of that personality do you accept or reject, and what is it displacing? Maybe you face a tough choice. Do you bring a child into battle if that child is an artifact? Do you sacrifice a few to save many? Maybe you have to choose between a sure thing that isn’t so sweet, and worse odds for a chance at something better?

Three Reasons the Ecology of Monsters Can Make Creatures Worse

In Three Reasons the Ecology of Monsters Can Make Creatures Worse, I suggested that framing monsters as natural creatures sometimes stifled the imagination. Lots of readers agreed but reminded me that developing monsters as creatures in nature can also fire the imagination.

It’s utterly absurd to suggest that natural creatures can’t inspire stories, because they have,” wrote greatwyrmgold. “And only slightly less silly to suggest that magical creatures can be more evocative than natural ones.

This article presents a false dichotomy between the fantastic and the naturalistic, between the magical and the dull. Creatures can be magical and dull when they pull from the same library of stock monster attributes as every half-arsed fantasy story in the past 60 years, but they can be fantastic and naturalistic with a bit of effort by the author.

Why Dungeon & Dragons Dropped Assassins and Renamed Thieves

An avalanche of comments to Why Dungeon & Dragons Dropped Assassins and Renamed Thieves noted that Assassins shouldn’t be killing for free and certainly not targeting their allies.

For instance, Carl Torvik wrote, “Assassins may the ONLY evil character you should allow in your campaign. They kill only when hired to kill. They have no reason to attack their party. They come with ready-made attachments to the NPCs and the world (guilds, contacts, associates of former targets, etc.) And they have a reason to want a gang of people around to protect them and occasionally even help them on a difficult hit.

Alphastream told how, in the 80s, friction between thieves and other evil characters broke up his game.

In my very first campaigns we had two players where one would play a thief. Before long, he would start stealing from us. The other would then back him up and threaten. It was a source of friction in our Temple of Elemental Evil campaign, but when we played Barrier Peaks, it escalated. Three of us tried to stop it and three wanted the freedom to do whatever they pleased. We separated, adventuring separately. That killed the game.

I can now look back on those events and understand what this was truly about. D&D was for me, as with many players, an escape from the social challenges of my normal life. When evil characters began to push their agenda, our D&D game ceased to become a collaborative escape from the everyday and became again a social challenge to which we had to respond. Bullying was again in my life, as were systems (here, the DM) that failed to make life better.

The worst problem with evil PCs or thieves stealing from fellow party members isn’t the lost items or even a death. It’s the impact it has on us as individuals, and how it upsets the very reason we came together to play and tell stories. We can introduce aspects that allow for party conflict, but when doing so we should look to find ways to mitigate that at the player level, or the game will suffer.

Quiiliitiila wrote, “Players who choose to create characters and then play them disruptively are to blame, not the classes. Any player who hides behind the class as a defense for their toxic actions is wrong and probably not suited to play in depth characters in the first place.

In the end, D&D and AD&D may have started as a simple hack and slash board game, but it evolved into a truly unique role-playing game where you get to experience adventure as a wizard or a cleric or even a blackguard! How you choose to play those characters is up to you, it has never been dictated by the rulebooks or class descriptions.

Alphastream agreed, but wrote, “As a designer I can choose to write mechanics that either bring people together for collaborative play or cause them to fight each other and disrupt party unity. I know which one I would rather see RPG companies design.

David’s article is examining how important names and other design elements are for play. They are extremely important. Often more important than we may realize. Any individual player or DM may or may not react to the design, but on the whole we are creating incentives for certain types of play. Assassins might be terrible at one table and not a problem at another, but what is more important is how they play overall. Overall, they caused problems.

When I design professionally, I’m often doing so for organized play, where I get to see how the design impacts hundreds to thousands of players. I can often see the impacts at a large convention and gain a really fascinating view into how the design works. Incentives that seem unimportant can end up being very important at that macro level. It’s good to go back and examine whether the design is encouraging heroic play, camaraderie, positive escapism, and other elements that routinely are cited by players as reasons to play D&D. Any individual group can always choose otherwise, but the overall design of D&D should point its incentives in that direction, because that’s what D&D is about.

Alert reader Dan realized that much of this post revisited a five-year-old topic. “Wouldn’t it have made more sense to link back to your previous post on the topic instead of copying the first half nearly verbatim, picture included?

Perhaps, but only about 1% of readers will follow a link to an earlier post. Reviving older posts sometimes helps me offer something every week. Many more folks read this blog now than did five years ago. Since few new readers browse my older posts, an old topic can still find interest.

I want to thank Dan and other dedicated readers who show enough interest in my posts to notice 5-year-old material. Your enthusiasm keeps me writing.

Sarah and Kaitlin Howard pictured with Lolth

Sarah M Howard wrote in to identify herself in the post’s photograph. “The drow priestesses in the picture are Sarah and Kaitlin Howard.” Thanks Sarah. Your costumes and the life-sized Lolth combine for an unforgettable photo.

Why Gary Gygax Added Unrealistic Hit Points, Funny Dice, and Descending AC to D&D

The post Why Gary Gygax Added Unrealistic Hit Points, Funny Dice, and Descending AC to D&D brought up THAC0, which led Erïch Jacoby-Hawkins to offer a bit of history.
Although THAC0 officially became a part of AD&D with the 2nd edition rule books, it was already being incorporated in some of the pre-2nd Edition modules in the mid to late 1980s, for example, modules I9 Day of Al’Akbar and I11 Needle from 1986 & 1987, respectively. I think THAC0 may have appeared in Dragon and Dungeon magazines around that time. The mechanic worked equally well in 1st as 2nd edition, as the AC system didn’t change, and the principle of the to-hit tables remained the same.

Perhaps I should have included Day of Al’Akbar in The Dungeons & Dragons Books that Secretly Previewed Each New Edition. Can anyone identify the first appearance of the term THAC0?

Why Did So Many Classic Adventures Come From 7 Years of D&D’s 45-Year History

The post Why Did So Many Classic Adventures Come From 7 Years of D&D’s 45-Year History told how the outsized attention and influence of D&D’s earliest adventures elevated their reputation.

Bryce Lynch parsed a word choice in Dungeon magazine’s list of 30 greatest adventures. “I note that the use of the word ‘greatest’ avoids the implication that they are actually good.” Bryce pens a series of entertainingly cranky reviews where he holds adventures to impossibly high standards. His consistently looks for three qualities: “Usability at the table. Interactivity. Evocative.

The lack of accolades given to more recent adventures led to my list of the 10 greatest adventures since 1985.

The 10 Greatest D&D Adventures Since 1985

The author of number 10, The Gates of Firestorm Peak (1996), offered more on his classic adventure. Bruce Cordell wrote, “Thanks for the review! Much appreciated. If you’re interested, I wrote about designing the Gates of Firestorm Peak a few months ago, and the associated creation of The Far Realm (which certainly got its name in Gates, but which I further highlighted in later adventures to strengthen its importance).” See http://brucecordell.blogspot.com/2019/03/origin-of-far-realm-in-d.html.

Teos “alphastream” Abadia praised number 6, Madness at Gardmore Abbey (2011) and recommended a follow up. “I love this adventure, especially in how it showcased how varied 4E adventures could be. I would also mention the prequel, Siege of Gardmore Abbey by Steve Townshend. Here, Steve takes us back in time to when the abbey first fell. It has a strong innovative take on a prequel with a variety of fun encounters built for a convention one-shot. It also has some super-fun pregens, some of which have great conflicts that are revealed during play. It’s amazing design. Siege can be found in Dungeon 210.

Teos also commented on number 5, Dead Gods (1997). “It’s also worth comparing it to other adventures of it’s time. It’s incredible how often adventures that should be amazing/fantastic (such as nearly every Planescape adventure) manage to be mundane. ‘Sure, you are in Sigil, now here is a guard duty assignment.’ More adventures need to really deliver on high fantasy.

I liked Vecna Lives for toying with some of those concepts (the opening scene is insane, the advice on running horror is incredible), but it stops short of attaining what it could. Same with Ruins of Castle Greyhawk. In 5E, Dungeon of the Mad Mage has some very strong parts, especially given the source material.

I admire that even the first-level adventures for the Dungeon Crawl Classics RPG include big, fantastic elements. Those adventures avoid caravan duty and rats in the cellar.

Responding to my list of The 10 Greatest Dungeons & Dragons Adventures Since 1985, Andrew wrote, “A key to the (good) 5e adventures is the Internet communities and third-party add-ons. By the book Tomb of Annihilation is good but falls apart here and there, but thanks to Facebook groups, Reddit and the great companion PDFs sold you can customize it with great ideas and fix weak bits really easily. Doing that back in the 1e days was quite daunting. Even a great module like Barrier Peaks was nearly impossible for me to run as a kid without any help.

Wraithmagus challenged my list’s methodology. “I am bewildered why you would create a list like this based on POPULARITY of all things, which is by far the least useful metric. If such a list is going to be useful, surely, they should be overlooked adventures, so that readers can have their attentions drawn to buried gems. Saying ‘Let me tell you about crap you already know about just so everyone can argue about how overrated it is is as unhelpful as it comes.

Although I did weigh each adventure’s reputation in my ratings, I consider that different from rating popularity. In the end, I cast my own judgement. My ratings won’t match anyone else’s, but a list like this needs to track the opinions of D&D fans closely enough to seem authoritative. As for finding buried gems, many readers had never heard of classics like Dead Gods and Night’s Dark Terror.

In Making the List of 10 Greatest D&D Adventures After 1985, I considered future lists of great adventures for high levels, from Dungeon magazine, and branded for a campaign setting.

Alphastream suggested some candidates. “The greatest high-level adventures from any era: I have to go with Throne of Bloodstone. While the design in many places is not exceptional, for a 1988 adventure it does a great job of showcasing how a truly awesome high-level plane-spanning adventure can work. It was very enjoyable as the end of my college campaign and took us to level 32-36 in AD&D play!

The greatest adventures branded for a campaign setting: For Dark Sun, Freedom does one of the best jobs at capturing a setting and introduces player well to the momentous events in the boxed set with the fall of Kalak. The same is true of the adventure included in the boxed set, which captures outdoor survival very well. Play those two and you get what Dark Sun is. Compare this to Dragonlance (or later Dark Sun adventures), where you feel like you get a bad version of the novels while the real stars are off doing the cool work.

Queen of the Demonweb Pits Opened Dungeons & Dragons to the Planes

The post Queen of the Demonweb Pits Opened Dungeons & Dragons to the Planes led Thomas Christy to write, “Great article! Check out these amazing maps by Jon Pintar! If I get to run this in the future, they will be great!

Alphastream recalled playing Q1 in high school. “The dungeon was very so-so. It did feel like a boring zoo or even a boring dungeon until the final level. It was then fantastic. The final battle was brutal. The party had a character with psionics… and Lolth does too. The old psionic combat rules had never been used until then. We looked them up, and basically everything happens in the first segment (part of a round). Party walks into Lolth’s room, psionic character drops dead as Lolth handily wins, and regular combat ensues! That was exciting!

Sharpshooters Are the Worst Thing in D&D, But That Speaks Well of Fifth Edition

A few readers responded to Sharpshooters Are the Worst Thing in D&D by describing the historical superiority of archers.

Todd Ellner wrote, “Think about it in the real world. The horse nomads of Central Asia from the Scythians to the Mongols pretty much swept all before them and replaced the style of warfare wherever they went. The life of the samurai wasn’t ‘The Way of the Sword.’ It was ‘The way of the Horse and Bow.’ Missile weapons are that much of a game-changer.

Although I like the historical perspective, D&D isn’t history, but a game where characters do fantastic deeds for the fun of players. A focus on fun leads designers like Dave Arneson and Gary Gygax to favor unrealistic, but fun things like hit points over realistic, not-fun things like sepsis and sucking chest wounds. Fifth edition pairs the intrinsic advantages of ranged attacks with the game’s two most overpowered feats to encourage situations where the sharpshooter player has fun and everyone else wonders why they showed up.

Some commenters raised the canard that archers tend to be “squishy,” lightly armored and vulnerable to attack. In this edition, fully-armored fighters also make the most efficient sharpshooters.

Some compared the damage dealing of sharpshooters to spellcasters. Certainly, spellcasters can shine for their ability to clear hordes of foes and for their utility. But most spellcasters really are squishy, and their spell slots force players to watch their resources.

Some cited certain melee fighting styles that can approach the damage output of sharpshooters. But melee types foster interesting fights because they stand in harm’s way and must move to attack. Meanwhile, monsters can surround their boss with enough protection for the mastermind to act before the barbarian can cut a path. Sharpshooters just turn potentially interesting encounters into point, shoot, and now it’s over.

Readers who see the trouble with sharpshooters offered advice to managing the archetype.

LordJasper wrote, “Start enforcing ammunition tracking. A lot of DMs let players get away with ‘forgetting’ to track their arrows and crossbow bolts. Make archers keep track of every bolt they fire.” The limit comes when archers capable of emptying a quiver in just a few rounds need to carry every missile.

Unfortunately, a 1 gp quiver of 20 arrows only weighs a pound, so players will argue they can easily carry 20 quivers totaling 400 arrows. Dungeon masters who rule otherwise will UNFAIRLY DESTROY an entire character concept—or so players will say.

This is where game mechanics poorly reflects reality,” Jason Oldham wrote. “Drawing on personal experience, an average quiver MIGHT hold 20 arrows. They are bulky and need to be packaged with at least some consideration for the delicate bits. Bolts are slightly more accommodating but only slightly. I personally enforce some rather strict house rules as far as how much a player can pack around and how readily accessible equipment may be. But that’s just me, I like to make my players suffer just a little bit.

Some readers suggested spells that hinder archers.

Oniguma wrote, “I’ve found one little, often overlooked spell that does wonders to diminish the potential of ranged attackers: Slow.

Sapphire Crook elaborated. “Slow is a rare spell that doesn’t require sight. You just pick six targets in a pretty large cube, and they have to pick a god and pray. Fireball can kill, but Slow can save lives.

Eric Bohm suggested Wind Wall. “‘Arrows, bolts, and other ordinary projectiles launched at targets behind the wall automatically miss.’ I don’t like using it because it is such a hard shut down, but it is useful for letting the rest of the party contribute.

The prospect of using Wind Wall against a party dominated by archers excites me. Still, many commenters blamed any trouble with sharpshooters on DMs who fail to prepare custom encounters to thwart the archetype. I prefer to avoid D&D games where the players bring scissors, and then the DM always prepares rocks. That approach creates an adversarial dynamic and robs the game of variety. DMs who run Adventurers League can add total cover, monsters, and hit points as I suggested in the post, but we can’t remake adventures to vex archers.

Number Monsters to Stop Wasting Time Finding Them on the Battle Map

In response to my advice that DMs number monsters to stop wasting time finding them on the battle map, Scott suggested using a 3D printer to make numbered bases that cup miniature figures.

The Two D&D Feats Everyone Loves (For Someone Else’s Character)

My post on The Two D&D Feats Everyone Loves (For Someone Else’s Character) ranked the popularity of D&D’s feats.

The relatively low popularity of Resilience surprised some commenters. For spellcasters who try to stay clear of attack, Resilience (Constitution) beats the most popular feat, War Caster. By the way, according to the letter of D&D rules, if you take Resilience for one stat, you can’t take it again for a second, different ability.

The popularity rankings of feats invited comparisons to each feat’s actual power. Thinkdm wrote, “Here’s some poll results I ran to break them down into tiers. You see the ‘broken’ feats aren’t even the most popular. Likely because they are suited to specific play styles. But, it’s still interesting.

Little-known D&D classics: Fez

In reply to Little-known D&D classics: Fez, Matt wrote, “I’ve never been to Gen Con, and in fact only came to AD&D when I was in middle school in the early 1990s. I found the Fez adventures about ten years ago when I was combing Amazon for out-of-print, non-Wizards of the Coast, and pre-d20 game materials.

They immediately changed my world.

I would spend the next decade reading, absorbing, and preparing to run Fez with my own group of gamers whose frame of reference for D&D only begins around the year 2000 or so. I’m happy to report that we finished the first Fez adventure back in May, and I’m preparing to go into Fez II, which is really the best in the series, in defiance of the law of sequels.

When I ran Fez I, I modified the game to accommodate some of their expectations: The players saw their characters’ stats, but they began as amnesiacs. Still, even with that change, the Fez formula engaged them immediately.

Fez has become one of our most memorable adventures. I highly recommend that anyone out there with a gaming group pick up these gaming classics and run them.

The True Story of the Cthulhu and Elric Sections Removed from Deities & Demigods

The True Story of the Cthulhu and Elric Sections Removed from Deities & Demigods prompted a funny exchange.

Joel Orsatti: “Any idea why the Finnish mythos was dropped?

Brent Butler: “They may have simply run out of K’s.

More likely, TSR dropped the mythos to fit the abbreviated book within a smaller number of signatures—groups of pages printed together.

The Media Furor that Introduced the “Bizarre Intellectual Game” of Dungeons & Dragons to America

In The Media Furor that Introduced the “Bizarre Intellectual Game” of Dungeons & Dragons to America, I explained why Gen Con in the 80s came to ban live-action games, and the change in attitude since. Spoiler: Today, some folks accept that playing D&D can prove beneficial.

Alphastream (again. Thanks, Teos!) wrote, “I wish I had a screen shot of an old post on the Wizards of the Coast forums by Mike Mearls during the 4E era. 4E era, mind you! That’s long after this event. In it, he briefly mentioned that when WotC was looking at the design for 4E organized play, there was a push to eliminate LARP and town-fair style play. It was due to the effect it has on the perception of the game.

I mention this not because I think WotC was necessarily wrong. (Okay, they were, but they were trying to gain acceptance for the game.) I mention it because LARPing was still seen as problematic as recently as 4E. And, because it is ironic that what has helped RPGs become mainstream during the 5E period is acting, both on livestreams and in media (Stranger Things, etc.). It is now very welcome to have people in costume, and WotC staff get in costume for livestreams and big events such as the Descent marketing event. It’s a remarkable change that has come only very recently.

Timothy Park shared his positive tale of clear-headed parents, pastors, and teachers seeing the game’s value and encouraging play.

There were a great many people using their intelligence and common sense and noticing and saying good things about D&D. They and their reasonable perspective won out. If it hadn’t, well, would you have this blog?

That story, the positive side, needs more press than the sensational bits.

As for the sensational bits, I finish this post by relaying the account from chacochicken.

My hometown was a regular hotbed of D&D and Satanic panic. In fact, the dangers of D&D was still a contentious point there until not that long ago.

I come from a small town in rural West Virginia. Evangelicalism had completely overtaken the town in the 50’s and 60’s. My grandparents moved there in 1952 and were not church going types. Strike one. My mom was an unwed mother. Strike two. My uncle got the Holmes basic set while he was in the navy and introduced my friends and I to the game. Strike two and half. It was an open secret that my navy vet uncle was gay. Strike Five.

To set the scene, it was summer 1986 and my friends and I (fortunately most kids don’t care much about the above nonsense) played a ton of D&D, but we had to keep it a complete secret from basically everyone. Our town was small enough that everyone mostly knew everyone’s business. A ring of people were in charge. The bank manager was the pastor. The pastor’s brother was the county sheriff and the high school baseball coach. Nepotism all the way down. Well these folks decided that they were going to control the behavior of the whole town more or less.

So we played that summer. A few other kids knew but none of our parents at that point. We were known to have played before, see above uncle, so everyone was wary of us. My friend Dustin, yes his name was Dustin, his parents ransacked his room and found his character sheets, dice, and some D&D ads torn our from his comic books. I’m not exaggerating, they burned all of his toys, all of them, on the front yard as he basically had a nervous breakdown. He was not allowed to speak to us again and they couldn’t risk us meeting at school so the next year he was home-schooled.

We were torn as to whether to play anymore or not because we were afraid of the possibility of punishment. Our defiance won out and we kept playing in the loft of an old barn next to my uncle’s house. He vouched for us playing regular old board games, fishing, and running around in the woods.

Then terror struck. A dog went missing somewhere close. Then a second. Then an older man “disappeared.” People went crazy. “It was Satanists!” The Panic hit full bore. The school confiscated anything to do with heavy metal music. Prayers before baseball games asking for protection against the devil worshippers that invaded our town. D&D was the primary suspect.

To be fair, as kids, we were scared too. We just knew D&D didn’t have anything to do with it. My uncle reassured us that most of the town were a bunch of crazy backwards hillbillies. He wasn’t wrong. He made a critical mistake however. I’ll never forget what happened on August 2nd 1986, a Saturday. My uncle threw a big BBQ for some of his navy buddies. We were invited to so we got some food and headed over to our barn for D&D by lantern light. My drunk uncle let slip to a friend’s wife that we were playing the devil’s game and she called her father, the aforementioned county sheriff.

We were right in the middle of the game when the sheriff and four deputies arrested us at gun point. They pointed guns at 5 kids playing a game. They were sure we were a Satanic cult cell. They put three of us in one car and two in the other. The entire drive they kept asking us about Satanism and if we killed the dogs. They didn’t take us to our parents or the police station, they took us to the church so the sheriff’s brother could rebuke us while we were in handcuffs. It was completely insane. There were 5 of us and we were all terrified except for my friend Nathan, who thought this was hilarious. His laughing and mocking the pastor helped a ton actually. We got our wits back and demanded to see our parents and told them they had just kidnapped us and we were going to call the FBI.

The sheriff took us home after that with a stern warning and a veiled threat asking me and my friends if my uncle had ever touched any of us. The next day my mom filed a formal complaint and my friend Matt’s father challenged the sheriff to a fist fight. He did not accept. The old man that “disappeared” wasn’t dead. He was on vacation in Maine or some such that summer. One or both dogs were found. We took a break from D&D for a while, but picked it back up when the Forgotten Realms grey box came out the next year. The pastor finally died in 2012 and the newer younger pastor now let’s kids play D&D other TTRPGs and board games in the church annex on Thursday nights.

So that’s the story of how D&D destroyed the brains of the people of my town for two decades because of the the media furor.

19 Adventures in the Running for 10 Greatest Adventures Since 1985

For my list of the 10 greatest adventures since 1985, nominations, reviews, and reputation led me to consider many more excellent adventures than fit a list of 10. Today’s post reveals the adventures that fell short of my 10 greatest, but merited consideration.


Treasure Hunt (1987) is a first-edition Advanced Dungeons & Dragons adventure by Aaron Allston.

Raw characters with no class levels wash up on the lost island of the pirate Sea King. They advance to first level and beyond.

“As a first adventure for initiates, this can’t be beaten. For old hands who may be tiring of AD&D, it will be a welcome change.” – Carl Sargent in White Dwarf issue 93.


King’s Festival and Queen’s Harvest (1989) are basic Dungeons & Dragons adventures by Carl Sargent.

A pair of adventures that introduces new players to D&D with a variety of linked missions.

“Absolutely the best introductory adventures in print for D&D-game-style fantasy role-playing games (FRPGs). Presented simply and clearly enough for young folks, these adventures are also challenging and entertaining enough for experienced gamers.” – Ken Rolston in Dragon 171.


Ruins of Undermountain (1991) is a second-edition Advanced Dungeons & Dragons adventure by Ed Greenwood.

The first three levels of the mega-dungeon under the city of Waterdeep presents its content with different levels of detail: Some rooms have complete descriptions, while others have terse notes. Most sections remain empty, a canvas for the dungeon master’s creation.

Rated 17th greatest adventure by Dungeon magazine.

Ruins of Undermountain was as much stuff from Ed Greenwood’s original gaming sessions as he could fit into a box. I give Ruins of Undermountain an A+. It will make you a better DM regardless of your skill level. This is a glimpse behind Ed Greenwood’s screen, giving the reader a chance to study his methods, which are very sound.” – Advanced Gaming and Theory


Vecna Lives! (1991) is a second-edition Advanced Dungeons & Dragons adventure by David “Zeb” Cook set in Greyhawk for characters of level 12-15.

After the Circle of Eight, Greyhawk’s legendary adventurers, die trying to stop Vecna’s return, their successors hunt the villain in a chase the across the world of Greyhawk.

Vecna Lives! is one of my favorite adventures from second-edition Advanced Dungeons & Dragons and I’m ecstatic that it’s been made available on dmsguild.com. Even if you never play the adventure, you should go out of your way to read/download/borrow it just to see what an incredible example of storytelling and adventure writing it is.” – Die Hard Game Fan


Night of the Walking Dead (1992) is a second-edition Advanced Dungeons & Dragons Ravenloft adventure by Bill Slavicsek for characters of level 1-3.

Characters investigate a series of murders an disappearances in a village plagued by walking dead.

“The actual adventure is one of the better blends of plotted adventures and old-school adventuring found in the ’90s. Though, there’s a deep, underlying story, it’s not a railroad. Instead, players must investigate and interact with NPCs to figure out what’s happening. Some events act as set encounters, but there’s also a big dungeon (cemetery) to crawl through at adventure’s end. The result maintains player agency while still telling a real story.” – The Fraternity of Shadows


Merchant House of Amketch (1993) is a second-edition Advanced Dungeons & Dragons Dark Sun adventure by Richard Baker for characters level 4-7.

In an event-driven adventure, characters work to end a trade in beetles with a bite that neutralizes psionic power. The quest pits the party against the most powerful merchant house in Tyr.

“This adventure has everything for me: intrigue and adventure coupled with the potential to save the world from a great threat that has just been exposed. So it’s 5 out of 5 stars.” – Warpstone Flux


City of Skulls (1993) is a second-edition Advanced Dungeons & Dragons adventure by Carl Sargent for characters of level 9-12.

Players infiltrate the demi-god Iuz’s nightmare capital to free a military commander needed to defend the Shield Lands.

Rated 26th greatest adventure by Dungeon magazine.

“Periods of stealth and quiet punctuated by short bursts of terrifying combat.” – Retro Gaming Magazine


Night Below: An Underdark Campaign (1995) is a second-edition Advanced Dungeons & Dragons adventure by Carl Sargent that takes characters from 1st level to as high as 14th level.

Billed as the “ultimate dungeon adventure,” this campaign goes from a ruins crawl, to a mine crawl, to a long journey through the Underdark.

“Night Below won’t be to some peoples’ taste, but the vast majority will absolutely adore it. Quite simply, it’s one hell of an adventure.” – Cliff Ramshaw in Arcane magazine.


Return to the Tomb of Horrors (1998)  by Bruce Cordell.

Years after adventurers gutted the original Tomb of Horrors, a dark community has built a city of necromantic evil on the tomb’s site. Even the inhabitants of this fell city have no idea of the true evil that waits beneath them.

Rated 10th greatest adventure by Dungeon magazine.

“The new material is really excellent. Return is a whole mini-campaign, not some rehash of previous work … It offers more by far than the old Tomb of Horrors, and it is more deadly too.” – Gary Gygax


Dawn of the Overmind (1998) is a second-edition Advanced Dungeons & Dragons adventure by Bruce Cordell for characters of level 8-10.

To stop a resurgent mind flayer empire, character visit a world of ancient ruins in search of an artifact of Illithid manufacture. This adventure brings a taste of Spelljammer and sword and planet adventure to conventional D&D.

“This is the third part of the Mind Flayer Trilogy, which was pretty much awesome from start to finish. One of the best D&D adventures of all time.” – Power Score


Die Vecna Die! (2000) is a second edition Advanced Dungeons & Dragons Adventure for characters of level 10-13 by Bruce R. Cordell & Steve Miller.

Die Vecna Die! takes the heroes from the Greyhawk campaign to the demiplane of Ravenloft and then to the Planescape city of Sigil in a quest to claim the Hand and Eye of Vecna—the key to stopping the evil demigod Iuz.

Die Vecna Die! pulls out all the stops, and the result is a massive but tightly constructed adventure with a truly apocalyptic feel. I’m surprised I’m recommending Die Vecna Die! as strongly as I am, but it’s just that good. It’s a great high-level adventure for any campaign.” – Fearful Impressions


Forge of Fury (2000) is a third-edition Dungeons & Dragons adventure for levels 3-5 by Richard Baker.

In a dungeon that captures the flavor of some of D&D’s original, classic adventures, characters battle though five levels of a dwarven stronghold overrun by evil.

Rated 12th greatest adventure by Dungeon magazine.

“I’ve always been impressed with the adventure; for my money it’s one of Wizards of the Coast’s best 3rd Edition era modules. As a basic, flavoursome dungeon crawl I think Forge of Fury is particularly well executed.” – Creighton Broadhurst


Return to the Temple of Elemental Evil (2001) is a third-edition Dungeons & Dragons by Monte Cook designed to take 4th-level characters as high as level 14.

Power rises again in the Temple of Elemental Evil. “Characters battle the power of darkness in Hommlet and beyond, forging their way through hundreds of encounters before reaching the fiery finale.”

Rated 8th greatest adventure by Dungeon magazine.

“Go out and buy the Return to the Temple of Elemental Evil. You will not regret it, and it will become a valuable part of your D&D library. It is one of the best adventure modules ever written.” – Talon on ENWorld


City of the Spider Queen (2002) is a 3.5 edition Dungeons & Dragons adventure by James Wyatt designed to take 10th-level characters up to level 18.

“Daggerdale is reeling from a sudden series of murderous drow raids. As a grave threat to the entire surface world develops in the war-torn dark elf city of Maerimydra, intrepid heroes must discover its source and destroy it, if they can.”

Rated 24th greatest adventure by Dungeon magazine.

City of the Spider Queen is an excellent addition to anyone’s Forgotten Realms campaign or with modifications, any Dungeons and Dragons third-edition game.” – Mania.com


Reavers of the Harkenwold (2010) is a fourth-edition Dungeons & Dragons adventure for characters of level 2-4 by Richard Baker.

In an adventure patterned after Red Hand of Doom, the characters join the resistance and take missions to thwart the army of evil that invaded the Duchy of Harkenwold.

“Definitely one of the best 4E adventures. – Will Doyle.

“I would love to see a 5E update of Reavers of Harkenwold.” – Chris Perkins


The Slaying Stone (2010) is a fourth-edition Dungeons & Dragons adventure for 1st-level characters by Logan Bonner.

Years after goblins overran and occupied a town once settled by humans, the characters enter seeking a lost Slaying Stone, the last of the magic stones created to protect the settlement.

“This is an adventure you won’t want to miss: Not only is it fun and non-linear, but it shows a DM how to better design her own adventures, and that’s something worth reading for any DM, no matter how experienced.” – Kevin Kulp


Dreams of the Red Wizards: Dead in Thay (2014) is a fifth-edition Dungeons & Dragons adventure for characters level 6-8 by Scott Fitzgerald Gray.

Teams of adventurers cooperate to explore a massive dungeon in search of the keys to a phylactery vault held by the evil Red Wizards of Thay.

“A ton of fun. Things get more and more hectic as the alert level of the Doomvault rises. It’s got good pacing, a narrative to it, and some fairly challenging encounters.” – Bell of Lost Souls


Cloud Giant’s Bargain (2016) is a fifth-edition Dungeons & Dragons adventure for level 6 characters by Teos Abadia.

Led by a talking skull, Acquisitions Incorporated interns enter a cloud castle floating over Neverwinter to determine what threats it holds. This superb adventure combines combat, exploration, and interaction with interesting choices into a single session of play. Plus it adds a touch of humor and an unforgettable guide.

Making the List of 10 Greatest D&D Adventures After 1985

In 2004, Dungeon magazine published a list of the 30 greatest Dungeons & Dragons adventures. I saw few reasons to quibble with the choices, but the list favored early adventures. More than a third of the magazine’s picks came from 1985 and earlier—from just 7 years of the then 30-year history of D&D.

Extraordinary adventures come from throughout the history of D&D, but overall adventure authors have learned from the past and improved the quality of published adventures.

Why did early adventures dominate the list? Part of their stature comes from their influence. Those early modules implied a setting that serves as a foundation for every D&D adventure and campaign. But much of the high ratings come from the years of attention these adventures gained. During D&D’s early years, TSR published few adventures, and then kept those few modules on sale for a decade or more. Just about everyone who played D&D played those early classics. See Why Did So Many Classic Adventures Come From 7 Years of D&D’s 45-Year History?.

The years after 1985 produced more great adventures than those in the 2004 list, and the last 15 years yielded even more classics. I decided to look past the early classics and find the best adventures published during the decades when modules fought for attention among a flood of releases.

I found great adventures from D&D history, but I limited my list to 10. Ranking adventures led me to ponder what makes an adventure great.

Recipes and ingredients

Modules serve as both the ingredients for fun adventures and recipes for dungeon masters to mix and serve at the gaming table.

Great adventures tend to combine evocative ingredients with recipes that DMs can follow to foster fun and exciting tales. The ingredients include the memorable characters and fantastic locations, the fearsome monsters and magical treasures that make the adventure. The recipe includes the hooks, clues, events, goals, and obstacles that enable a DM to draw players through the adventure.

To DMs accustomed to re-purposing and remixing the ingredients of adventures, recipes hardly matter, but most DMs running published adventures want help for running the scenario at the table, even if we sometimes change the recipe.

The fifth-edition adventures boast consistently outstanding ingredients. They pick the best from decades of D&D lore and then add new inspiration. For example, Tomb of Annihilation builds on the dinosaurs and lost world of Isle of Dread, the overgrown jungle ruins of Dwellers of the Forbidden City, and the deathtrap dungeon in Tomb of Horrors. Curse of Strahd builds on Ravenloft, the adventure that might be D&D’s best ever. Based on ingredients alone, all the hardcovers rank with D&D’s greatest adventures. But the recipes tend to falter. In Are the Authors of the Dungeon & Dragons Hardcover Adventures Blind to the Plight of DMs?, I described these shortcomings.

As a recipe, Curse of Strahd doesn’t succeed completely. The DM needs to nudge players toward level-appropriate areas, but the Tarokka card reading hints at the means to Strahd’s defeat and provides clues that guide the adventure.

Rating Tomb of Annihilation presents more challenges. I found the ingredients irresistible, but the adventure challenges DMs. The death curse creates urgency when the players may want to try dinosaur racing in Port Nyanzaru. As written, the hex crawl will exhaust players with random encounters. The Tomb of Nine Gods features expert design, but six levels of unrelenting deathtraps may weary players. Still, I loved the Tomb’s mix of inspiration and the dungeon so much that I originally slotted the adventure at a higher rating, but its flaws led me to drop the adventure to 8th just before posting. Reader reaction to the Tomb’s rating left me comfortable with my new ranking.

Meanwhile, many readers voiced support for Storm King’s Thunder, a chimera that’s part gazetteer, part assortment of lairs, and part plotted adventure. The reputation of Storm King’s Thunder has grown, but not enough to merit a spot on the list.

How much do players value a variety of settings and activity?

Six adventures from Dungeon magazine’s 2004 list fell short of ranking on my list.

If my list included 20 entries, most of these adventures would rank, but none reached my top 10. With only 10 slots, and newer adventures to fit, many had to go just because they weren’t quite as good.

Reviews and play accounts of faulted some of these adventures for their intense focus on one mode of play: the dungeon crawl.

Reviewers praised Return to the Temple of Elemental Evil for delivering a great dungeon, and then warned that the amount of crawling could prove exhausting.

When I ran Sunless Citadel and Forge of Fury back-to-back, the Citadel stood out for its interaction with a memorable cast and for its story line. The Forge felt like more of a grind.

I compared Ruins of Undermountain to Waterdeep: Dungeon of the Mad Mage. The new hardcover easily rates as the best mega-dungeon I’ve played or run. It delivers a better version of Undermountain than Ruins of Undermountain. Each level brings a strong theme that adds variety. The factions and sympathetic residents open the dungeon to interaction. And yet, I grew to crave changes of setting and my players thirsted for a larger plot than the classic bid for treasure. Neither adventure made the list.

I love dungeon crawling like Groucho loves a good cigar, but too much of a good thing sometimes tires me. I suspect many—perhaps most—current D&D players share my take. Critics of Tomb of Annihilation often call the six, uninterrupted levels of the Tomb of Nine Gods wearying. Even longtime D&D and Pathfinder designer James Jacobs seems to share my trepidation. In an interview promoting Red Hand of Doom, he contrasts his adventure with City of the Spider Queen and Return to the Temple of Elemental Evil. “Working on Dungeon (and in particular, the Shackled City and Age of Worms Adventure Paths) taught me a lot about designing huge adventures. One of the most important lessons I’ve learned there: don’t succumb to the lure of the enormous dungeon. They may be fun to design, but dungeons with 100 rooms are a bear to adventure through.”

None of this disqualifies pure dungeons from my list. Many still managed to place, but I favored adventures that play to all three pillars and tour a variety of environments.

Attention and recency bias

Lost Mine of Phandelver may rank as the most disputed entry on my list. Fans cite how well the adventure introduces various tropes and styles of play to new players and DMs. Critics cite a lack of anything new or wondrous. Both fans and critics make fair claims.

Lost Mine’s reputation benefits from two advantages that make the adventure complicated to rate. As the starter set adventure for a new edition, Lost Mine gained the attention of every D&D fan. And because Lost Mine introduced the most recent edition, it may benefit from recency bias, our tendency to overestimate newer things in our memory.

When I placed Lost Mine at number 3, I rated the adventure based on how well it suits its purpose of introducing new players to D&D. As a launch into D&D, the scenario may succeed better than any prior intro. Because many old fans of D&D love the adventure too, it vaults near the top of the list.

What happened between 1986 and 1996?

My list includes Night’s Dark Terror from 1986 and then no other releases until The Gates of Firestorm Peak in 1996. Were the years between 1986 and 1996 really starved of quality adventures?

I considered several adventures from these years for my list. During that period, TSR split development between D&D and Advanced Dungeons & Dragons, and between numerous campaign settings. Perhaps a flood of releases aimed for shrinking segments of a divided D&D market meant that no adventures gained enough attention to grow in reputation. But perhaps a focus on campaign settings instead of adventures led TSR to produce solid but unexceptional modules. Teos “Alphastream” Abadia writes, “Entire lines, such as Dragonlance or Spelljammer, are often solid but not exceptional, even for their time. (I do personally like Spelljammer’s Under the Dark Fist).”

Short, high-level, and setting-specific adventures published near the end of an edition

Because my ratings drew on recommendations, reputation, and reviews, the list may overlook great adventures that failed to gain attention for reasons unrelated to quality.

Short adventures seem to lack the weight needed to make an impression. Most of the adventures on my list span 100 or more pages. Releases that include extras like poster maps, counters, and cards also seem to make a bigger impact.

No high-level adventures made my list. Most D&D play focuses on lower levels, especially in past editions when play above level 9 or so exposed flaws in the game. This means low-level adventures tend to win the most sales and attention. What high-level adventures escaped attention?

In my list, Dead Gods is the only setting-specific adventure branded for a particular setting or campaign. The proliferation of campaign settings in the late 80s and 90s takes some blame for diluting the sales of D&D products below profitability. For instance, DMs running games set in Mystara ignored adventures set in Greyhawk, the Forgotten Realms, Ravenloft, Spelljammer, Dark Sun, and so on.

Adventures shipped near the end of an edition tend to languish on shelves, unnoticed by fans looking ahead to the new edition. When Milwaukee hosted Gen Con, I made annual visits to one of the city’s used bookstores. For years, I spotted the same stack of remaindered copies of The Apocalypse Stone, the final second-edition adventure.

My list of greatest adventures proved fun to create and unveil, so I feel inspired to create other lists that find overlooked classics.

  • The greatest short adventures published after 1985
  • The greatest high-level adventures from any era
  • The greatest adventures branded for a campaign setting
  • The greatest Dungeon magazine adventures

Don’t look for these lists anytime soon. I mulled my after-1985 list for years, off and on.

Help me out. What are your favorite short adventures? What are your favorite high-level adventures? What are your favorite adventures branded with a campaign setting?

Related: The 10 Greatest D&D Adventures Published After 1985

Next: Honorable mentions: The adventures that merited consideration for the top 10

The 10 Greatest Dungeons & Dragons Adventures Since 1985

This list of the 10 greatest Dungeons & Dragons adventures since 1985, draws from ratings, reviews, and appraisals from D&D fans, and then uses my completely unscientific aggregation of opinions to rank the 10 entries. The list only includes adventures printed as stand-alone titles under the D&D or Advanced Dungeons & Dragons brands. For more on why I chose to rank adventures published after 1985, see Why Did So Many Classic Adventures Come From 7 Years of D&D’s 45-Year History?

10. The Gates of Firestorm Peak
The Gates of Firestorm Peak (1996) is a second-edition Advanced Dungeons & Dragons adventure by Bruce Cordell for levels 5-8. The adventure that introduced the Far Realm to D&D starts as a well-crafted dungeon crawl, and then builds into an unsettling confrontation with Lovecraftian monstrosities. See the full review.

9. Tomb of Annihilation
Tomb of Annihilation (2017) is a fifth-edition Dungeons & Dragons adventure by Chris Perkins. Will Doyle, and Steve Winter for levels 1-11. Tomb of Annihilation mixes the dinosaurs and lost world of Isle of Dread, with the overgrown jungle ruins of Dwellers of the Forbidden City, with a deathtrap dungeon inspired by Tomb of Horrors. Every one of those influences appears on the Dungeon magazine’s 2004 list of 30 greatest adventures, and the mix plays better than any of them. See the full review.

8. Sunless Citadel
The Sunless Citadel (2000) is a third-edition Dungeons & Dragons adventure by Bruce Cordell for levels 1-3. As the introductory adventure to third edition, Sunless Citadel delivers the monsters, treasures, and even the dragon that new players expect from D&D, but the adventure serves much more than D&D comfort food. Start with a deeply evocative location: a castle dropped into a rift by some cataclysm. Add a lost dragon wyrmling, a tainted tree at the heart of the ruin, a fresh humanoid monster, and one of D&D’s most unforgettable characters, Meepo. See the full review.

7. Vault of the Dracolich
Vault of the Dracolich is a D&D Next adventure By Mike Shea, Scott Fitzgerald Gray, and Teos Abadia for level 4 characters. Vault of the Dracolich rates for its outstanding execution of a multi-table adventure. By design, a team of dungeon masters runs several tables of players who explore different parts of a dungeon at the same time. As the adventure runs, groups can interact, briefly gathering, exchanging resources and coordinating plans. The event ends with all the groups fighting a climactic battle. See the full review.

6. Madness at Gardmore Abbey
Madness at Gardmore Abbey (2011) is a fourth-edition Dungeons & Dragons adventure by James Wyatt with Creighton Broadhurst and Steve Townshend for levels 6-8. Madness at Gardmore Abbey combines the best qualities of fourth edition’s encounter design with a sandbox of adventure locations, villains, and a single powerful thread that binds them all together. That thread comes from the scattered cards of a Deck of Many Things, perhaps the most irresistible artifact in D&D. See the full review.

5. Dead Gods
Dead Gods (1997) is a second-edition Advanced Dungeons & Dragons adventure by Monte Cook for levels 6-9.
Dead Gods boasts more than the best title of any D&D adventure, it features the most audacious storytelling. For example, in one chapter, players create temporary characters to play out past events. The adventure spans the planes, ending in a climax that brings the party to the astral plane where they battle atop the 4-mile-long corpse of the demon lord to stop the creature’s resurrection. See the full review.

4. Curse of Strahd
Curse of Strahd (2016) is a fifth-edition Dungeons & Dragons adventure for levels 1-10 by Chris Perkins with Adam Lee, Richard Whitters, and Jeremy Crawford. Curse of Strahd captures everything great about I6 Ravenloft and expands it into a full campaign. While Ravenloft mainly stayed in a castle, Curse of Strahd gives players the freedom to roam the cursed land of Barovia. Although Curse of Strahd features a strong design, the vampire Strahd and the fearful gloom of his domain make the adventure’s best parts. See the full review.

3. Lost Mine of Phandelver
Lost Mine of Phandelver (2014) is fifth-edition Dungeons & Dragons adventure by Richard Baker and Chris Perkins for levels 1-5.
The adventure that introduced fifth edition serves D&D’s expected and favorite ingredients. To longtime fans, the elements may be familiar, but superb execution makes the adventure a winner. After the first encounter, players experience samples of dungeon crawls, quests, and mini-adventures. The adventure provides enough clues to keep even new players from feeling lost. See the full review.

2. Red Hand of Doom
Red Hand of Doom (2006) is a 3.5 edition Dungeons & Dragons adventure by Richard Baker and James Jacobs for levels 6-12.
Red Hand of Doom starts with the fantasy trope of an army of evil sweeping the land, and then casts the characters as heroes working to slow the march. Their missions span the landscape and vary from diplomatic meetings to dungeon delves. Along the way, the adventure accounts for the players choices, successes, and failures. See the full review.

1. Night’s Dark Terror
Night’s Dark Terror (1986) is Basic/Expert Dungeons & Dragons adventure by Jim Bambra, Graeme Morris, and Phil Gallagher for levels 2-4. The adventure starts strong with a widely-imitated episode where the characters defend a freehold against a goblin attack. The events of the siege make the night of terror. After the first episode, the adventure’s scope expands. Players explore more than a wilderness, with eighteen locations, including a number of mini-dungeons, a ruined city, a riverside village, a frontier town, and a lost valley, while active villains oppose the characters. See the full review.

Vault of the Dracolich (2013): Greatest D&D Adventures Since 1985—Number 7

Vault of the Dracolich is a D&D Next adventure By Mike Shea, Scott Fitzgerald Gray, and Teos Abadia for level 4 characters.

The Living Greyhawk organized-play campaign pioneered a popular new way to play Dungeons & Dragons at conventions. In Battle Interactives, multiple tables could join together in the same adventure. The effect of actions, successes, and failures at tables could ripple to others in the interactive.

To fuel excitement for D&D’s upcoming fifth edition, the D&D team planned a gameday for stores. Vault of the Dracolich co-designer Teos Abadia explains, “Wizards of the Coast wanted to see whether a gameday could be transformed from the typical adventure format into a very exciting event: a hybrid between a battle interactive and Lair Assault.” The event proved a huge success.

“The project’s approach was a new one for Wizards,” Abadia writes. “We designers were all freelancers acting as a team, instead of writing and submitting our work separately to WotC for them to put together. Mike was the author, I was the developer, and Scott the editor (and first draft cartographer). As a result, we all collaborated heavily and all took turns scheming, writing, developing, and editing.”

During the adventure, bands of heroes infiltrate a temple of the Cult of the Dragon to recover an ancient elven staff from the dracolich, Detchroyaster. Merric Blackman describes the setup. “Vault has a number of different groups investigating different parts of the dungeon at the same time. So, from one to seven tables can play at the same time, with a DM at each table, and one further person would act as the event’s coordinator, making sure everything worked smoothly and triggering the big events that affected several tables at once.”

“The lair of the Dracolich is large enough that it accompanies four sections, ranging from a Lizardmen commune to a temple of the dead god Bhaal,” writes Alex Lucard. “Each of the four locations offers a very different experience, so if you decide to run all four parts as a mini campaign or a single party, things won’t feel repetitive.”

The adventure encourages interaction between tables. Shannon Appelcline writes, “The coordinator moves about, threatening adventurers when the dracolich tracks them down; tables briefly come together and then separate, exchanging resources and coordinating plans. Even compared with similar adventures created for organized play, Dracolich stands out for the amount interaction possible between parties. Its game-store-sized scale lets everyone share the same dungeon.

“Groups that rely solely on one strategy, whether sneakiness or smacking monsters, will probably have some difficulty. The adventure is exceptionally well-designed, and various creative approaches are required for PCs to move through the complex safely. Enemies may be defeated, fooled, or co-opted with role-playing; regardless, it will take canny and aware players to succeed.”

In an RPG.net review, Vestige describes play. “There’s a breakneck rush through the dungeon to reach the staff, and then a massive climactic battle with even more to do than there are players. That’s a solid formula for a memorable day of D&D.”

In his account of running the adventure during a game day, Merric Blackman calls the experience “fantastic” and the scenario “something quite special.”

In a post, co-author Mike Shea offers advice for converting the adventure to fifth edition.

Next: Number 6.

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Why Did So Many Classic Adventures Come From 7 Years of D&D’s 45-Year History?

When Dungeons & Dragons fans rate adventures, the ones published early get the most accolades. In 2004, Dungeon magazine listed the greatest adventures of all time. Of 30 adventures, 20 came from 1985 or earlier. TSR started publishing adventures in 1978, so this represents just a 7 year slice of D&D’s 45-year history. Three more entries from after 1985 simply collected earlier adventures.

Why do early adventures gain so much praise?

Part of the stature of early adventures comes from their influence. Those classics showed every D&D fan how to create scenarios. They offered a template for many styles of dungeon: The Steading of the Hill Giant Chief became the first stronghold, Tomb of Horrors the first deathtrap, and White Plume Mountain the first funhouse. The drow adventures invented dark elves, the Underdark, and planar adventures. Such early modules implied a setting that serves as a foundation for every D&D campaign, even the ones that aim to be distinctive.

But much of the high ratings come from the years of attention these adventures’ gained. From 1978 to 1982, TSR published an average of fewer than 7 adventures a year, and all the adventures were short enough to play in a day or so. So most D&D fans played the same small set of adventures, and then traded their stories with other fans. Those early adventures remained in print for a decade or more, capturing the attention of a generation of players.

Over the years, the gamers who played those early adventures introduced new players to the old favorites. These adventures spawned conversions and sequels. For example, every edition of D&D generated at least one reprise or sequel to Tomb of Horrors. And of course, the panel that ranked Dungeon magazine’s 30 greatest adventures all started playing with the early favorites that dominated the list.

In 1983, the few adventures produced for D&D turned into an avalanche. Through the middle years of D&D’s history, gamers could only play a fraction of the adventures produced for the game. Everyone played a different subset, so even the best adventures failed to garner much attention. (For a deeper look into this topic, see Return of the Classics by Teos Abadia.)

Still, many adventures rated as good as or better than any of the old classics. After all, experience taught adventure designers more ways to write fun scenarios. For example, no one published an event-driven adventure until 1982. See How N1 Against the Cult of the Reptile God Changed D&D Adventures For Good.

To shine attention on the newer classics, my next posts will count down the 10 greatest adventures published after 1985. Why 1985? Because the middle 80s mark a steep increase in adventures published, yet 1985 marks a steep decrease in the rate of those 30 greatest adventures reaching print. Also in 1985, Gary Gygax left TSR forever. Gary’s departure didn’t mark a sudden drop in quality—his last solo classic debuted in 1982—but 1985 still marks a turn in D&D history.

Who decides on the 10 greatest? On dmdavid.com, DM David decides. But I don’t rely entirely on my own judgement. I’ve drawn from ratings, reviews, and appraisals from D&D fans, and then I used my completely unscientific aggregation of opinions to rank the 10 entries. Ask me again in a week and I’ll probably put the list in a different order. For my sanity, I limited the list to adventures sold as products under the D&D brand. That excludes great independent and Dungeon magazine adventures. Someday, I aspire to posting a list of the best adventures from Dungeon magazine. I invite nominations.

Does my list miss a great adventure? Yes. Take to the comments and set me straight, but first double check your favorite’s publication date. When I called for nominations after 1985, many fans suggested adventures that proved older than expected.

Starting tomorrow, I’ll post one entry every weekday but Friday, until I reach number 1.

Next: Number 10