Tag Archives: The Fantasy Trip

Why D&D’s d20 Tests Make Experts Look Inept and How to Make the Best of It

Decades ago, I read game designer Steve Jackson explain why he swapped the d20 to-hit roll in Dungeons & Dragons for the 3d6 roll used in his alternative combat system Melee (1977). Steve considered the 3d6 bell curve so superior that he trashed the d20 without a second thought. His roleplaying games The Fantasy Trip and GURPS use 3d6 core mechanics. Then, I struggled to grasp Steve’s dislike of the d20.

Now, I understand Jackson’s disdain, but I love D&D. Like esteemed game designers such as Jeremy Crawford and Monte Cook, I find reasons to embrace the d20.

In Cook’s designer’s notes for his Numenera RPG, he describes the d20’s flaw. “Using the d20 introduces a great deal of randomness into a game. It’s difficult to use a d20 as a task resolution die and still have character aspects play a big part in success or failure without all of a sudden finding yourself using pretty big numbers.” He gives an example like this: Suppose two archers try to hit a bullseye by rolling a 20 or higher. An untrained person with a decent 12 Dexterity gets +1 and hits 10% of the time. In comparison, a 12th-level ranger trained in the bow and boasting an 18 Dexterity gets a +8, but still only hits the bullseye 45% of the time.

D&D games show this dynamic when the DM asks everyone to roll an Intelligence (Arcana) check to recognize ancient sigils, and then the brainy wizard fails while the barbarian knucklehead succeeds. That outcome may seem funny the first time, but similar scenes play frequently and can feel disappointing. Instead of rewarding the player who chose to make a character good at something, the d20 roll often makes experts look inept.

If D&D used bigger bonuses, then experts would get a boost. Suppose the expert archer gained a +25 and hitting the bullseye required a roll of 30. Now, the sharpshooter feels more like Annie Oakley. But that arrangement makes difficult tasks impossible for unskilled characters when we really want success to become rare.

Instead of using big modifiers, fifth edition’s bounded accuracy uses modest bonuses that give every character a chance of success at the price of making experts inconsistent.

Monte describes an alternative. “Now imagine that you used 2d10 instead. 2d10 gives us a more normal distribution. In other words, you end up with a much better chance of getting a 10 than a 20. Using the same bonuses, the archer still hits the bullseye 45% of the time, but the unskilled guy only 3% of the time. That makes more sense.” With a 2d10-based game, clumsy newcomers at Faerûn athletic competitions luck into fewer medals. (In one of my very first posts, I grappled with a related issue.)

This more natural range of outcomes leads game designer Steffan O’Sullivan to write, “I’m not fond of dice systems with a flat distribution. I’m solidly in the bell-curve camp.” O’Sullivan created the Fudge RPG, which became the basis for the popular Fate system. Both games use a set of four special 6-sided dice marked on two sides with a plus (+), two with a minus (-), and two blanks. “When you need to roll dice in Fate, pick up four Fate dice and roll them. When you read the dice, read every + as +1, every blank as 0, and every – as –1. Add them all together. You’ll get a result from –4 to +4, most often between –2 and +2.” No roll requires counting past 4, so even little kids add the results easily. “The fewer mathematical calculations used to figure out a dice result, the more likely you are to stay in roleplaying,” O’Sullivan writes. “So Fudge Dice were born, and I like them a lot. They’re a joy to use and don’t slow the game down at all, one of my early design goals.” The system’s bell curve makes results of -4 and +4 rare, but possible. So a +4 (1.23%) matches my real-life chance of a bullseye, while an Olympic archer scores a bullseye on any roll better than -4.

Despite the virtues of the bell curve, Monte Cook still opted for a d20 for Numenera and D&D creators Gary Gygax and Dave Arneson chose the d20 for to-hit rolls and saving throws. The d20 rolls beautifully, it generates a big range of numbers without adding, and the icosahedron feels deliciously different from the bland cubes in countless games like Monopoly. Gygax became particularly enchanted with the exotic new dice from Japan.

Most importantly, d20s yield predictable odds compared to mechanics that combine multiple dice. Monte Cook explains, “If you’re using a system where the GM has to assign a target number for a task, it’s a lot easier to do that on the fly with a d20 than, say 3d6 or 2d10. Why? Because with a d20, the difference between, say, 17 and 18 is the same as the difference between 8 and 9. They’re basically just 5% increments. With a bell curve, that’s a lot harder to figure for the GM, particularly on the fly.”

In 1974, D&D lacked ability checks. To decide between success and failure, Gary Gygax suggested that DMs estimate the chance of success, and then improvise a roll that fits the odds. A d20 roll made the math easy.

Playing D&D means learning to embrace the d20’s swings. To help gamers love the d20, D&D’s current rules architect Jeremy Crawford offered advice on the October 3, 2019 episode of the Dragon Talk podcast. “Any time the d20 is in the mix, that is a swingy die so get ready for the unexpected. What I encourage groups, players and DMs alike to do, is rather than viewing that as something to chafe against or be unhappy about, embrace it as a storytelling opportunity. Over the years, the longer I play D&D and DM D&D, the more I have come to love the unpredictability of the d20, because so often it will create moments that will challenge the DM and the players to really stretch their storytelling ability to come up with a fun reason for why this transpired. Why did the ace rogue who triggered this battle, why did she end up going last?

“When the d20 throws you a curve ball, catch it and follow through with the curve. Just see where it leads you rather than saying, ‘this is dumb’ or ‘this isn’t how it should play out.’ No, in D&D, what the d20 does is really showing how this is going to play out. Let’s ride it and see where this craziness goes.”

If I were magically transported back to a version of 1974 that somehow lacked Gary Gygax and Dave Arneson, would my attempt to bring dungeons and dragons to the world use a d20? I might choose Fudge Dice, but I would never stop giving those new icosahedrons from Japan forlorn looks.

A Game Design History of the Dump Stat

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In 1974, Dungeons & Dragons introduced roleplaying games and—less significantly—dump stats where players set their least-useful ability to their lowest score. According to the original D&D rules, players rolled abilities in order. Actually, by the rules as written, “it is necessary for the referee to roll three six-sided dice in order,” but everyone let players roll instead. Innovations like point-buy character generation or even rearranging rolled scores were years away.

Still, original D&D had dump stats of a sort. Fighters could trade Intelligence for Strength, the fighter’s “prime requisite.” Clerics could trade Intelligence for Wisdom. Magic users could trade Wisdom for Intelligence. Every class came with at least one potential dump stat, and these exchanges cost 2 or 3 points for 1 point of the prime requisite. When I first read those offers, the exchange rates struck me as a bad deal. I was wrong. None of those classes gained anything from their dump stat, so the trades only benefited the characters. In the original rules, Strength, Intelligence, and Wisdom just brought advantages to the class that used the ability as a prime requisite. (Intelligence brought extra languages; few players cared.) The rules prevented players from reducing Constitution and Charisma, but those abilities could help every character with more hit points or more loyal followers.

In 1977, the hand-to-hand combat game Melee by American designer Steve Jackson showed a different and influential approach to ability scores. Melee used just two attributes, Strength and Dexterity, but the scores brought bigger mechanical effects than in D&D. Strength permitted more damaging weapons, stouter armor, and functioned as hit points. Dexterity determined to-hit rolls and who struck first. In this combat game, dueling characters needed to enter the battlefield evenly matched, so rather than rolling attributes, players bought them with points. Modern role-playing games virtually always let players build their characters, but in 1977 the point-buy system proved a massive innovation.

Also in 1977, the obscure game Superhero ’44 used a point-buy system. In Heroic Worlds (1991), D&D Designer Lawrence Schick called that game “primitive,” but also “ground breaking.” Superhero ’44 even let players trade flaws for more points. “Characters who accept weaknesses or disabilities (Kryptonite, for instance) should be awarded with extra power.” This innovation spread to games like Champions (1981), GURPS (1986), and Savage Worlds (2003).

When I played Melee, I marveled at the balance between Strength and Dexterity. Every point moved between the two attributes traded a tangible benefit for a painful detriment, and the difficult choice between stats made character generation into a fascinating choice. Just as important, the simple choice led to fighters who played differently but who proved equally effective. No other game would ever feature such a precise balance between ability scores, but with 2 scores and just one character type, Melee’s narrow scope helped.

A magic system to accompany Melee appeared in Wizard (1978). This addition introduced a third stat, Intelligence, but wizards still needed Strength to power spells and Dexterity to cast them. Intelligence became a dump stat for the original game’s fighters, while wizards gained enough from spells to offset the need to invest in three stats. When Melee and Wizard became The Fantasy Trip roleplaying game, IQ also bought skills, so some balance between stats remained.

Some games lump Strength and some of Constitution’s portfolio together. In both The Fantasy Trip and Tunnels & Trolls (1975), wizards drew from their Strength to power their spells, and since characters in both games increased stats as they advanced, experienced TFT and T&T wizards grew muscles as swollen as steroid-fueled bodybuilders.

Choosing ability scores introduced a complication avoided when players just roll. Some stats prove more useful than others. Chivalry & Sorcery included an attribute for bardic voice. No one but bards would have invested there, and C&S lacked bard as a class. Also, the attributes that power your character’s key abilities bring much more value than the rest. The original D&D rules recognized that factor in the unequal exchanges that let players increase their character’s prime requisites.

In Advanced Dungeons & Dragons (1978), the recommended technique for generating ability scores allowed players to rearrange scores any way they liked. For most classes, Intelligence just brought extra languages and Wisdom only gave a saving throw bonus against magic “involving will force,” so these abilities became favored places to dump low scores.

In D&D, the value of ability scores mainly comes from the value the scores offer to classes that don’t require them. Constitution always comes out ahead because it adds hit points and improves a common saving throw. You may never see a fifth edition class based on Constitution because the attribute offers so much already. In earlier editions of D&D, Strength proved useful because every class sometimes made melee attacks. Nowadays, classes get at-will alternatives to melee attacks that use their prime requisite.

The value of ability score depends on what characters do in a campaign, and that adds challenge to balancing. In original D&D, shrewd players paid hirelings and henchmen to accompany their dungeon expeditions and share the danger. Characters needed Charisma to recruit and keep followers, so by some measures Charisma offered more benefits than any other attribute. But not every campaign played with hirelings. The 1977 D&D Basic Set skipped the rules for hiring and retaining help, so Charisma offered no value at all unless a DM happened to improvise a Charisma check—the game lacked formal rules for checks.

A similar factor makes Strength a common dump stat in fifth edition D&D. Strength provides the potentially valuable ability to carry more stuff, and more treasure, but few players even bother accounting for carrying capacity. The rules make dealing with encumbrance an optional variant. In the original D&D games, part of the challenge of looting the dungeon came from the logistical challenge of hauling out the loot. Runequest (1978) featured an encumbrance system that allowed characters to carry a number of “things” equal to their Strength before the weight hampered them. I remember the importance this system attached to Strength and the difficult choices of armor and equipment players faced. The secret to making Strength valuable is creating an encumbrance system that players use.When encumbrance feels like an accounting exercise that players ignore, Dexterity becomes king. By selecting ranged or finesse weapons, a Dexterity based character can approach the damage of a similar character based on Strength. Plus, a high Dexterity enables an AC nearly as stout as the heaviest armor, wins initiative, and improves common Dexterity saves rather than rare Strength saves.

Fifth edition D&D makes Intelligence another common choice for a dump stat. Of the classes in the Player’s Handbook, only wizard requires Intelligence, a prime requisite that rarely figures in saving throws. (See If a Mind Flayer Fed on D&D Characters’ Brains, It Would Go Hungry. Should PC Intelligence Matter?)

Third edition D&D boosted the value of Intelligence by awarding smart characters more skills. The fifth edition designers probably weighed the same approach, but with skills serving as key traits in the two pillars of interaction and exploration, perhaps the designers opted to award skills equally to characters of any Intelligence. So unlike in earlier editions, high Intelligence no longer brings D&D characters more skills or even languages.

Obvious dump stats limit the choices that lead to effective characters. Dump stats encourage players to create characters that fit common, optimal patterns. A fifth edition D&D party may include a wide range of classes and backgrounds, but almost everyone fits the mold of healthy, agile folks with low-average Intelligence. And not even the barbarian can open a pickle jar. (He’s dex based.)

5 Roleplaying Products That Shaped How I Play Dungeons & Dragons 1977–1978

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Holmes Basic Set (1977)

The blue box of the 1977 Holmes Basic Set introduced me to D&D. To 99% of Dungeons & Dragons players, the edition that introduced them to the game stands as their most important. Why should I be different?

Players who came later never saw how revolutionary the game and its brand of fantasy seemed in the 70s.

Then, games sold as toys and they were all terrible. They suffered from stupid, and random mechanics: Roll a die and move that many spaces. These games offered minimal choices. In them, the winner became obvious well before the end, yet they took forever to finish.

Before I saw D&D, I heard of the game in a 12-year-old’s lunch-room pitch. After school, I sat with a sheet of graph paper and tried to imagine how the game would play. I got nowhere. From my experience rolling a die and moving that many squares, I had no clue how a game could allow the things the kids claimed.

So in a mere 48 pages, the 1978 basic Dungeons & Dragons rule book edited by J. Eric Holmes shattered my notion of what a game could be.

As a kid in the 70s, All the fantasy I knew came from picture books. Stories where trolls lived under bridges and bugbears under beds. Nothing prepared me for a game inspired by Appendix N.

For more, see 4 Pop-Culture Assumptions That Dungeons & Dragons Destroyed.

City State of the Invincible Overlord (1977)

When I discovered D&D, TSR had yet to publish any setting information other than the hints published in the Greyhawk and Blackmoor supplements. For a break from dungeon adventures, the original rules suggested wandering the hex map boxed in Avalon Hill’s Outdoor Survival game and rolling encounters.

So when the City State of the Invincible Overlord reached me, the scope of my game exploded. The $9 setting included a huge 34″ x 44″ map in four sections, and 11″ x 17″ map of the castle of the dwarven king backed with a sprawling dungeon map, three booklets detailing over 300 individual locations and the non-player characters who populate them, maps for ten more dungeon levels, plus players’ maps.

The package shows remarkable creative output. No locations in the sprawling city rate as too mundane for descriptions. Even with five bakers, the guide finds something interesting to say about each.

Instead of adopting the entire City State, I cherry picked stuff I liked. My 1977 copy of the city state still contains the pencil marks noting my favorite bits. The best inspiration came from the rumors seeding every location. Now we would call them adventure hooks. In an era when most players just wandered, these ideas suggested a way to steer the game from aimless looting to plot.

For more, see A Butcher, a Baker, and Naughty Nannies in D&D’s First Setting Book: City State of the Invincible Overlord.

Arduin (1977).

Inspired by the Greyhawk and Blackmoor supplements, Dave Hargrave printed his house rules, lore, and advice in 3 little, brown books named after his world, The pages of the Arduin Grimoire teemed with fresh ideas. When I discovered the books, I became enchanted. I haven’t found a game book that proved as enjoyable to read.

In an era when state-of-the-art setting design consisted of a map paired with encounter tables, Hargrave opened a world with detail that rivaled any setting that came later.

Dave Hargrave’s campaign world of Arduin was not built; it was piled. To create Arduin, Hargrave took every fantastic element he dreamed up or fancied and piled them into one work of love. He preached bigger imaginary playgrounds. “The very essence of fantasy gaming is its total lack of limitation on the scope of play, both in its content and in its appeal to people of all ages, races, occupations or whatever,” He wrote. “So don’t limit the game by excluding aliens or any other type of character or monster. If they don’t fit what you feel is what the game is all about, don’t just say ‘NO!,’ whittle on them a bit until they do fit.” (Vol. II, p.99)

He tore up the D&D rules and offered wild changes. His specific rules hardly mattered. The message mattered: Hargrave encouraged me to own the rules and my games and to create a game that suited me and my players.

For more, see The Arduin Grimoire: The “Coolest RPG Book Ever,” also the Book Gygax Mocked As Costing Readers 1 Int and 2 Wis.

Melee (1977) and Wizard (1978)

Over my first years years of playing D&D, the fun of the game’s battles waned. My games drifted away from the fights, and toward exploration and problem solving.

Game designer Steve Jackson understood the trouble. In Space Gamer issue 29, he wrote, “The D&D combat rules were confusing and unsatisfying. No tactics, no real movement—you just rolled dice and died.” Steve turned his desire for better battles into elegant rules.

In the late 70s, ads in Dragon magazine convinced me to spend $2.95 on Jackson’s combat game Melee and $3.95 on the magic addition Wizard. I half expected to be disappointed. Role playing games required hefty books, and Melee and Wizard were not even full role playing games, just tiny pamphlets with paper maps and cardboard counters. (Melee and Wizard would become The Fantasy Trip roleplaying game.)

I loved playing the games so much that they changed the way I played D&D.

The revelation came from the map and counters. You see, despite D&D’s billing as “Rules for Fantastic Miniature Wargames,” I had never seen miniatures used for more than establishing a marching order. From local game groups to the D&D Open tournaments at Gen Con, no combats used battle maps, miniatures, counters, or anything other than the theater of the mind. Miniatures struck me as a superfluous prop, hardly needed by sophisticated players. The idea of bringing a tape measure to the table to measure out ranges and inches of movement seemed ridiculous.

I failed to realize how much battle maps would transform the game. Without a map, players struggle to follow the action unless things stay simple. In virtually ever fight, players just opted for the front, swinging a weapon, or the back, making ranged attacks. Two options. If you were a thief, you could also try and circle around to backstab. As Steve Jackson wrote, “You just rolled dice and died.”

Melee and Wizard included hex maps and counters and simple rules for facing, movement, and engagement. After just one game, I felt excited by all the tactical richness that I had formerly snubbed.

For more, see Melee, Wizard, and learning to love the battle map.

Runequest (1978)

With Dungeons & Dragons, Dave Arneson and Gary Gygax invented the role-playing game. With Runequest, Steve Perrin and Ray Turney showed how to design a role-playing game.

Steve Perrin first entered the hobby when he distributed his D&D house rules, The Perrin Conventions, at DunDraCon in 1976. This led to Runequest, a game that replaced every aspect of D&D with more flexible, realistic, and simpler alternative: Skills replaced the confining class system. Experience came from experience, not from taking treasure. Armor absorbed damage from blows that landed. Combat simulated an exchange of blows, dodges and parrys. Damage represented actual injuries. Rather than a hodge-podge of mechanics, Runequest introduced the idea of a core mechanic that provided a way to resolve every task. Rather than the game setting implied by all of Gary’s favorite fantasy tropes, Runequest supported Glorantha, a unique world built as a consistent, logical setting.

Suddenly, D&D’s rules seemed as dated as gas lights and buggy whips. I enjoyed an occasional D&D game, but I switched to electric lighting until D&D adopted much of the same technology for third edition.

Today, simulation seems less important than in 1978. I now see that rules that made D&D unrealistic also added fun by enabling the game’s combat-intensive dungeon raids. For more, see The Brilliance of Unrealistic Hit Points and The Fun and Realism of Unrealistically Awarding Experience Points for Gold.

However, elegance remains as important as ever. Aside from earlier D&D editions, D&D’s current design owes more to Runequest than any other game. Third-edition D&D’s lead designer Jonathan Tweet called Runequest the role-playing game that taught how to design RPGs. Actually, Runequest taught everyone how.

Jonathan Tweet credits Runequest with a long list of innovations that reached D&D.

prestige classes (rune lords, rune priests, and initiates)
unified skill-combat-saving-throw system
ability scores for monsters
1 in 20 hits are crits
ability scores that scaled up linearly without artificial caps
a skill system that let anyone try just about anything
armor penalties for skill checks and spellcasting
creature templates
faction affiliations
hardness for objects
chance to be hit modified by Dexterity and size
iconic characters used in examples throughout the rule book
rules for PCs making magic items.

Next: 1978-2000