Despite my focus on tempo, I do more than count initiative and tell players when they hit. I try to describe enough of the action to make the scene vivid. I speak for the villains. Still, I worry that some player will think, Quit blabbing so I can take my turn, so I aim to add color without slowing the game.
In combat encounters, my monsters and I talk about three sorts of things:
1. Villainous monologues
Speaking dialog for your villains transforms them from bags of hit points into enemies. In comics, villains mock the fools that oppose them, and we hate them for their contempt, arrogance, and cruelty. Some of the fun Dungeons & Dragons comes from crushing evil. Good dialog makes your villains seem more real, more detestable, and more satisfying to crush.
Also, I reveal the monsters’ tactics through dialog. The ogre might say, “You hurt Grug, so I smash you.” The necromancer might say, “Barbarian, I have just the enchantment for weak-willed cretins like you.” This reframes the battle from the us verses the game master into us verses the monsters. I want players invested in their characters, but when I single out their character for attack, sometime it feels personal. If the monsters explain themselves, the GM starts to disappear.
At the end of a turn, if a PC does something noteworthy, give a short, vivid description of the event—or invite the player to describe it. Some GMs ask players to describe their kills. D&D includes a lot of kills, so for my taste, describing them all becomes tiresome and too gruesome. Especially with kids at the table. Especially when those kids loose their imaginations. Instead, focus on describing the big spells, stunts, transformations, setbacks, and feats of valor. The summary should only take a few seconds.
3. Urgency and exigency
After the summary, call the next player to act, and then tell them the biggest crisis on the battlefield. This advice comes from the Angry GM. “A player’s turn in combat needs to have both urgency (there’s an emergency that needs to be dealt with) and exigency (if you don’t take action right now, you will lose your opportunity). That’s what makes combat scary and that’s what keeps it running forward.” For example, say “Agnes, the wolves have knocked Kedric to the ground and look ready to gut him. What do you do?” Such transitions call the player to attention, focus them on the game, and increase their sense of urgency.
Screenwriters cannot pad a movie fight scene with dialog without strangling the pace. But in a role-playing game, you can fit dialog into a fight. If you want to compare RPG fight scenes to another medium, compare them to comics. In comic-book fights, battles stretch time. I’ve seen Captain America deliver 50 words on freedom in the span of a single punch.
Similarly, I’ve seen D&D players squeeze a 5-minute strategy conference into a 6-second round. (If the players enjoy tactics and they’re not just telling the new player what to do, I just assume that yesterday, at the campfire, the PCs planned tactics for situations like this.)
Most adventures need some exposition: essential information needed to make sense of events, or clues the that lead to the next scene. Sometimes all GMs find themselves relaying some essential bit of background while the players grow impatient. Their expressions say, “Blah, blah, blah. Just tell us what to kill.”
Why not add exposition while the players know what to kill? You never have a better hold on their attention. Unlike in a movie, your villains can monologue during a fight, revealing their history, exposing their plans, and so on. “My father defeated the demon Chirix to win that staff, you shall not have it.” Just don’t recite more than a few lines at a time, stalling play. The players might allow themselves a 5-minute strategy conference, but your villain cannot unfold a page and say, “As a free action, I would like to read a statement.”
Do as a I say and try to do
I have a confession to make. I aim to enhance all my fights with colorful dialog and descriptions, but sometimes I lose myself in the business of keeping the turns moving and planning my monsters’ next move. If you ever happen to find a seat at my game table, you’ll see how well I’m doing.
When you serve as game master during a combat encounter, what do you say?