By MythicParty - December 23, 2011 - 10 Comments

The 1 Thing You Should NEVER Ask Your Players »

A few years ago, I was fortunate to be part of a kick-ass campaign.  It was based upon The Temple of Elemental Evil, an AD&D adventure so adventurous it needed be labeled as being a ‘Supermodule.’  Even discounting the 128 page size, the scope and scale of T1-4 (which later spawned an equally badass sequel written by Monte Cook) with its various antagonists, was mythic.  Our DM, who I’ll call Dan, ran it with the 3.0 ruleset so we could play an Old School classic in a New School edition.

While converting ToEE was impressive, Dan’s real achievement was running the dungeon in such a way that it felt as a fully functional ecosystem.  He made the entire Temple seem as if it was truly alive- with both their initial reaction and then later the active anticipation of our party.  In short, Dan’s bad guys constantly evolved which for us as players was a paradigm shift in how bad guys were run.  But there was 1 thing Dan really didn’t do well, and that was how he solicited feedback.

Last time, in d10 Things You Must Do Between Campaigns, I talked about some critical things all DMs should do when transitioning campaigns.  These (7) tips will both help successfully end the current game while sufficiently prepping for the new one.   And 1 of those tips was to Review How the Campaign Went which is to say, you need to get feedback from your players regarding your DMing skills.  Honest feedback.  Which in many ways is like a boss asking to hear how he’s doing from his employees: the boss is almost always told what they want to hear.  Let’s look at how that kind of useless (even counterproductive) feedback happens.

At the end of every ToEE session, Dan would inevitable speak those words we knew were coming, and dreaded hearing.  “Well guys, did you have fun tonight?”  Putting on our best forced smiles, everyone’s answer was always the same: “Yeah man, of course.”  Now, the majority of nights this truly was the case and therefore an honest answer.  But when it wasn’t, when the game lacked a certain something or simply wasn’t up to par, our DM never knew any better. Because what he was asking was akin to being asked, “Was it good for you too?”  By that I mean there’s only one smart answer.  In the Nine Hells, there’s only one safe answer to both of those questions.  So we always had fun, even when we didn’t.

What should Dan have been asking?  What should YOU be asking?  Its actually quite simple, and with apologies to Matt who left a comment on this piece’s predecessor, doesn’t require a player survey to happen.  There are 2 key things that you seek: “What did you guys like?” and “What would you guys like to see done differently?”  The former tells you those things that you need to keep doing.  The answers will provide some much-needed encouragement.  And these answers about what is positive with your DMing will (gradually) help your players feel comfortable enough to answer the followup query.

Which are those things that you need to do better.  Those things you should improve upon.  Put bluntly, those things you have to fix.  However the phrasing of this is crucial.  You don’t want your question to come out as, “What didn’t you guys like?”  Because that immediately puts the players on the defensive.  Which is why ‘differently’ is a great word since gamers let their imagination run rampant so they can easily relate to the possibility of differences rather than negatives.

Ask these 2 key things at the end of every session (preferably via email/forum to not put anyone on the spot), politely push for specifics, act on what you learn, and your DMing will soon level up.  Your player may even honestly be able to say that they had fun.  ‘ToEE’ next time.

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By Keith Baker - December 18, 2011 - 7 Comments

Question Keith #5: Death and the Master Villain »

By Mates Laurentiu

You know what they say about the 3rd time.

This Sunday, while running a game for my group, I revealed that a recurring NPC the PCs had believed to be an ally was actually a rather sinister antagonist. I believed, when creating his stats, that he would be a difficult enemy to defeat; indeed, I intended for the PCs to fail to defeat him and for him to teleport away through an interplanar portal. A force field blocked off the group (and the NPC) from the NPCs two lackeys that were generating the portal. However, the Warlock in the group used the “Iron Spike of Dis” power. This power, while more than bloodying the NPC, had the effect of immobilizing him. Improvising, I had the NPC open a portal in the floor below him and appear behind the force field and thus out of harm’s way. The Warlock, who was proud of his strategizing, felt as though I cheated him out of his glory. If I hadn’t, I would’ve cheated the entire group out of a potentially epic and rewarding campaign. Did I handle this the right way?


I addressed a similar question a few months back – What do you do when player actions clash with the outcome you expected in the story? I suggest you read that and the discussion that follows, as the point was explored in more detail in the comments.

However, there’s another aspect to this question that I’d like to explore: the challenge to using recurring villains. Recurring characters add a lot of flavor to a story. Looking to comics, characters such as Doctor Doom and the Joker can be as interesting as the heroes they fight. As a player gets to know a villain, his appearance in a story serves a number of purposes. It lets the player have some idea of what to expect (Magneto? We’re going to be fighting evil mutants, guys). Beyond that, the history between the players and the villain can add dramatic tension, especially if the villain has occasionally won in the past. At first you didn’t care about the Lord of Blades. Then he killed your sister. This time – it’s personal!

Of course, in superhero stories defeated villains generally go to jail. As a system, D&D is set up for bloodier battles. In 4E, you can technically decide if an opponent dropped below zero hit points is dead or simply down for the count – but as The Knights Of The Dinner Table have shown us time and again, mercy for enemies isn’t always a top priority for adventurers. You can always come up with a plan for how you want the villain to escape, as with the portal above. But clever players can always come up with a solution the DM hasn’t thought of. So how can you save an NPC without your players feeling like they’ve been cheated of victory?

The first answer is the simplest: You don’t. The underworld has a revolving door in D&D. Raise Dead, Resurrection, Reincarnation… in many stories you can’t be sure the villain is dead until you’ve seen the body, but in D&D you can’t be sure until you’ve burnt the body and trapped the soul.

Of course, with a good story, even a burnt body won’t take someone out. Count Feldvar cut off his finger and gave it to a friend to ensure that the ally would have a piece of his body to raise him if required. The Faceless One is an agent of the Goddess of Death, and Death will never hold her for long. And wily Serella made a bargain with an archdevil—she’s regained her life, but now she has a debt to repay. To me, this last example is the most interesting one because it can actually drive a future adventure. By the time you next meet Serella, your characters will have gained levels. But now she has new powers gained from her infernal pact and a new mission. She’s going to wipe out the city of Ux with a terrible plague because she HAS to in order to pay off her debt – something you set in motion by killing her!

Another long term option is to have a new villain step in. How come it’s only the HERO who gets to say “You killed my father, prepare to die?” Just because the PCs never knew that the villain had a lover/child/parent/partner/apprentice doesn’t stop you from pulling such a figure out for the next story; when Beowulf brings down Grendel, it simply sets the stage for the even tougher battle with Grendel’s mother. Rather than looking at the death as the end of the story, it may be an opportunity for it to evolve in a new and interesting direction.

Perhaps you needed that villain to escape because the story you’re running just won’t work without him. Realistically there’s no time for him to be raised, and you don’t have stats handy for his mom. You just weren’t prepared for things to go this way. You could take the trapdoor getaway approach and hope the players aren’t too annoyed. Or you could take the Doombot option – which is to say, the villain the PCs killed wasn’t the villain at all. As soon as he dies, his body transforms into the corpse of a changeling – but exactly when did the switch occur? Alternately, spells like domination or mind seed could allow the villain to use a dupe as a puppet – and when they get to your final scene, they’ll be surprised when a seeming stranger announces “You fools! Now you face the TRUE Count Feldvar!”

In any case, my gut reaction is: don’t rob the players of their victory. Find a way to make that victory part of the story. Find a way to return the villain from the dead; have a new villain be created by the defeat of the old; or allow the players to have the victory, but have it turn out that it wasn’t actually the villain that they were fighting in the first place.

You know your players, the history of your campaign, the mood at the table. At the end of the day, my advice is to be flexible and to do what is best to ensure that your players have fun.

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By MythicParty - December 12, 2011 - 6 Comments

d10 Things You Must Do Between Campaigns »

My weekly gaming group has recently begun a new campaign- Paizo’’s exciting sandbox-style Kingmaker. (Think Old School Module B2 Keep of the Borderlands).  This comes after having played Curse of the Crimson Throne since early January 2010.  In the process of transitioning from one Adventure Path to the next, we’ve come up with steps for this process.  I called these things ‘Must Do’ because of a  sincere belief that they will sincerely improve games.  Here’s what my group has done, why we did it, and what we’ll do for the next switch.

  1. Have the last night be an event: Every week our adventuring starts with a meal beforehand for fuel and fellowship.  But this particular evening, we all brought more food than usual.  Better food than usual.  Better beer than usual.  While I’d stop short of calling it a feast, the brand quality or better snacks definitely made for good grub.  And that helped kick off the night.  So save a few bucks in advance to treat both your friends as well as yourself.
  2. Take some pictures:  If your group is anything like ours, they’re not exactly the most photogenic bunch.  Get some pictures anyway.  Yes, shots of the table showing off the minis and the BBEG.  But also of the players (we missed doing that).  Consider it a souvenir to look upon in the future.  A portrait of the people behind the heroes.  I have yet to meet someone who has said they wished they took less photographs with their friends.
  3. Make a toast:  This is something we missed yet should have made time for.  At the very end of the night, before everyone heads home, stop.  Officially mark the occasion.  Raise a glass to the DM and fellow players.  Then go around the table sharing your favorite moment from the campaign.  Let the DM go last so they can take it all in.  And then toast, pledging to game again.
  4. Review How the Campaign Went: Useful feedback is critical for improvement.  For that you need (and should want) everyone to be honest.  However this can be hard.  Frankly our group struggles with peer reviewing.  But sharing what people liked along with what people would like to see done differently is in the best interests of every player and every DM.
  5. Setup a Break: This is crucial.  You’ve just gotten out of a multi-month Adventure Path with high-Level characters.  Before you jump right back into another arc, sliding way down to 1st Level, embarking yet again on another multi-month commitment, pause.  Take a breather.  People need to recharge their batteries, particularly DMs.  A few weeks off is a good thing.  The break will get your group excited and eager to return to rolling dice.
  6. Play Other Games: During this mini-vacation from your regular thing, expand your Geek horizons.  Try a game that isn’t like what you’ve been playing.  If your closet is anything like mine there are a bunch of board or card or other RPG titles that haven’t been opened in awhile.  Maybe ever.  Dust those off and see what they’re about.  We broke out a very fun co-operative board game called Shadows Over Camelot and got a reminder of how important it is to work together as a team.  Plus how badly a traitor can mess up a kingdom.  :P
  7. Improve the Way You Play: The most important part.  Just as characters get better after gaining experience, so too should every gamer.  In between Crimson Throne and Kingmaker we made several changes.  Serious changes.  The basement where we have our sessions got a makeover worthy of a television show, complete with home-built furniture pieces.  We signed up for Obsidian Portal, an amazing campaign wiki site, springing for Ascendant membership to get extra maps/a forum as well as to support the service.  We spent more time creating characters to better develop deeper backstories that would help our roleplaying.  And we came back after the self-imposed D&D recess fully ready to follow Rule 0: “Above all else, have fun.”  In short, we’ve Leveled up our game, and leveled up as gamers.

So the next time you’re ready to end a campaign, remember the things you must do because they’ll help make both it and the ones that follow that much better.

What are some suggestions you have for what to do in between campaigns?

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By One Die Short - November 30, 2011 - 6 Comments

Death and Not Dying: The Immortal PC »

Welcome back for another edition of One Die Short! This month I wanted to take a look at something that has plagued me for a long time.  In the panel below from my webcomic we see the classic, and unfortunate, Total Party Kill:

page 44

The TPK is the bane of many a player, and for good reason.  It’s one of the few scenarios where resurrection is often impossible (unless they get some help from a friendly NPC).  But this is okay.  This is as things should be.  Death should be something they fear, not a minor inconvenience (Or so it seems to this DM).  When resurrection is a possibility, death doesn’t seem so bad.  Sure, there are penalties associated with the lower level spells.  Sure, staying alive is a lot better, but still… it’s not terribly frightening in the eyes of many players.

Resurrection does a few big things to a campaign:

1) Players stop fearing death
2) Players start making stupid decisions
3) Combat loses any sense of drama or tension

A lot of players fall in love with their PCs.  Most especially when they’ve built a PC from the bottom up.  When you’ve been adventuring with the same character for a year or two, or even longer, you get attached.  You don’t want them to die.  It’s only natural, but when that possibility is so far off that you stop thinking about it, you also stop appreciating how great your PC really is.

The easiest solution (and one I’ve used before), is to just elimnate resurrection.  But I have to admit, resurrection is something near and dear to me.  It’s an integral component to a game I love very much, and D&D without resurrection just seems a bit off, and also very difficult when Death effects start getting involved (unless you’re not playing with them in your system).

My dilemna was this: how do I keep resurrection around, make my players more cautious in combat, more fearful of death, and still make sure everyone has a good time?  This is a question a lot of DMs have asked themselves, and there are quite a few house rules out there that attempt to tackle it (Here’s a nice discussion of the topic).

Many of these house rules impose various penalties, increase monetary costs of resurrection, or simply make it a lot rarer.  Penalties are great, but not a huge motivator.  Making the cost ridiculous just seems unfair to low level PCs.  A level 20 PC can probably come up with 25,000 gold, while a level 2 PC should probably just start begging a few Lawful Good clerics and hope for the best.  Simply making it less common, is one of the better options I’ve come across, but it can cause more problems than it’s worth.

Players generally don’t like it when a spell they used to be able to cast suddenly goes away, or becomes a higher level spell, or the exclusive provence of the Gods.  They seem a lot more accepting of increased penalties than giving something up completely.  And it is a game mechanic.  Taking it away completely means you need to do more to restore balance, otherwise combat can become frustrating, and we don’t want that.  Challenging is good, frustrating is bad.  Maybe these issues haven’t come up for you and your campaign, but I wasn’t overly fond of most of the solutions out there.

So, my solution was this:

Everytime a True Resurrection spell is cast, the resurrected character recieves a -2 penalty to Consitution, as does the Caster.  The caster must transfer a bit of their own soul into the dead person’s body in order to bring them back from the brink.  In addition to this, a True Resurrection spell must always be used within 3 days of character death.  With  Resurrection and Raise Dead I increase these penalties to -3 and -4, and reduce the number of days to 2 and 1 respectively.  And of course, when your Constitution hits 0, you’re dead.

This has the beneficial effect of imposing fairly obnoxious penalties, and also making resurrection less common.  Afterall, only the most altruistic of clerics are going to sacrifice a bit of themselves for someone else.  And even these clerics will use it VERY sparingly, otherwise they’ll end up dead quickly.  This reserves resurrection for only very special occasions and very special people.  It also means when you have a cleric in your own party, they might think twice about resurrecting you (so get with the bribing early).  The biggest problem with this solution is that it still makes the presence of Death effects a bit more troublesome, and additional tweaking might be necessary.

Roleplaying has a lot in common with acting and theater, the biggest of these commanalities being drama.  As DMs we like to add a bit of drama to things.  We enjoy stirring up emotions (even if that emotion is often anger).  We are writers afterall, and every good writer likes to have an impact on their audience.  So why not make yourself a little more Shakespeare by taking away a little more security from your players.  They’ll appreciate it in the long run.

Thanks for reading, and please be sure to check out the rest of One Die Short, as well as my personal advice blog, Ask the Dungeon Master, all about Life, the Universe, and Roleplaying.

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By Alex - October 31, 2011 - Leave a comment

D&D Inspirations from our ‘Zombie Murder Mystery’ game »

I. Delve into ZMM

Its got zombies, murder, & a mystery.

By: Alex Harms

When Dungeon Delve came out back in 2009 I was excited to have a book full of level appropriate scenarios to use with my gaming group. I loved that I could go over to the shelf grab a book and have a series of encounters, thematically tied together, which I could use throw into my ongoing Dungeons and Dragons campaign, run as a side trek or even as a stand alone adventure when I had no time to prepare.

My biggest disappointment with Delve though, was that the scenarios lacked compelling stories. It provided interesting combat scenarios, but the setups were often weak and the story which tied one encounter to the next was often little more than, “You go up stairs and…” When I run my game I want there to be more substance and narrative tying my encounters together. Even the most action packed movies are mostly plot and narrative. This is because if the movie (or game) is all combat and action, the audience becomes numb to it. In the context of role-playing games a lack of forward narrative to tie combat encounters together becomes an uninspired algorithm of number crunching.

The ZMM Model

When I first picked up Zombie Murder Mystery (ZMM) I was skeptical of the way in which the book was laid out. Being a long time D&D player I was used to seeing detailed maps, exotic monster statistics, and precise lists of treasure. I didn’t get that with ZMM. What I got was loosely planned out scenes which sketched out and suggested a narrative for the Game Master to employ. What I loved about ZMM was how freeing it was, and how effortless it made preparation. Instead of bogging down the Narrator with endless lists of statistics and numbers, ZMM scenarios put story, plot and narrative first and leave the mechanics in the back ground. The lesson here is wonderful: “Trust yourself. Trust your players. Don’t over plan.”

When I ran ZMM the first time there was a moment when the players wanted to get from a Hotel Lobby to the Kitchen to do an autopsy. Had I had a map in front of me I would have said, “Ok, first you need to through the hall way (Meaningless encounter), then the dining room (Pointless Interaction) and finally the Kitchen” as I trace the path through the hotel. Rather, by focusing on story instead of planned encounters, I was more able to skip directly to the meaningful parts of the story and advance the plot with each scene.

Every scene should move the plot forward in some way. If an encounter doesn’t make your world richer, or your characters deeper or your drama more intense it isn’t worth the paper it’s written on.

How ZMM Puts Story First

Be Goal Oriented

ZMM has a number of built in features which if applied to any of the scenarios in Dungeon Delve, or your own adventures, will instantly make them more enjoyable. First, the game is goal and story oriented. It explicitly states the objective (survive and disable the villain). Players should always know what they are trying to do. If they don’t know what the objective is, tell them. Goals provide motivation and motivation breeds action and story content. Every time you sit down at the table there should be a goal in place to achieve by the end of the night. If players complete their session goals, and tell a good story, every session will feel like a huge success. Narrators must always define the goal and guide the story in that direction.

Try to avoid cutting the action right before they complete their goals, or dragging your session out so they don’t accomplish anything meaningful during the session. Remember, story, whether episodic, serial or epic is first.

Run Down the Clock

ZMM also uses the “Time bomb” technique. Players must complete their goal before the clock runs down or they fail. Their goal is time contingent. Making goals time contingent forces focus and speed. It takes out meaningless talk and useless interactions and demands action. Cut anything that isn’t necessary to the story. Especially because D&D combat takes so long these days (4th edition), cut anything not absolutely necessary and keep the clock running. This forces the players to act and advances the narrative. If you really want to keep play speeding forward set an actual timer for the duration of your session and say you have until then to complete the session goal. Players will never waste time in a meaningless argument again.

The World is a Dangerous Place

Lastly, ZMM employs constant danger. As in the world of D&D, the world of ZMM is a dangerous place. Characters can’t be complacent; they must do something heroic! Keeping the risk high and the pressure on with time and danger will force action and compelling narrative into your games. Too many times has my party stood outside a door healing and talking because they knew the next encounter would trigger when they opened the door (again a problem with maps). Don’t allow this. If they stand around to long, then something bad happens. Keeps the story flowing forward!

Delve with Zombie Murder Mystery

Applying the lessons we have picked up from ZMM to our other games will guarantee a strong session every time. Plan sessions and stories not scenarios and statistics. The fun in narrative games is the narrative. By connecting your combat encounters to meaningful story elements which relate to player goals and motivations, you can take the encounters in Dungeon Delve and your own adventures and make them into vibrant and powerful stories. Develop methods to advance the plot rather than forcing the details. Learn from ZMM and employ goal oriented gaming, ticking clocks and constant danger to force focus and action rather than a drifting complacency. Your adventurers are men and women of action and deserve a story and a game worthy of that title.

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By MythicParty - October 15, 2011 - 3 Comments

Console Cleric #1: d6 Ways ‘Gears of War 3′ Can Aid D&D Games »

If you read DungeonMastering.com,  then you most likely play or at least come across video games.  Console Cleric looks at various video titles to see what digital counterparts can add to tabletop sessions.  This month, Epic Games’ Gears Of War 3 , which, unless you live on a planet other than Earth or Sera, you’ve heard about.  Here are d6 lessons from GoW3 elements that will improve your D&D sessions:
  1. Backstory: At the conclusion of GoW2, the PC’s destroyed the last sizable human city to flood the Hollow (Underdark) where the Locusts (reptilian bad guys) live.  In GoW3 the good guys are now scattered/rebuilding but the bad guys are too- that earlier PC-created flood killed a bunch of Locusts but also has made the rest leave their underground world.  This is alluded to at the end of GoW2 where the Locust Queen (BBEG) refers to unintended legacies.  So when your PCs do things especially noteworthy ones, then there needs to be logical consequences to whatever they’ve done. Sort of the game-based Newton’s Third Law.  Have their world always respond appropriately.
  2. Gameplay: The heroes in GoW do truly heroic acts, slaying horrific monsters like Brumaks (T-Rex with guns), Corpsers (armored spiders), & Reavers (flying octopi) all while recovering from damage that shatters an average soldier.  PCs even climb ladders one handed & can roll up stairs.  The 3rd game allows them to tag enemies which lets other PCs know where that particular bad guy is, trade guns/ammo amongst themselves, & destroy certain kinds of cover-providing terrain.  The series stresses how important cover is, referring to it as the ‘Golden Rule of the Gears: Take cover or die.’  Hiding behind stuff is a lifelike tactic on any battlefield, as is ruining the enemies’ protection.  So think about having monsters more often utilize terrain to their advantage as well as having monsters trying to mess up any cover that adventurers themselves try to use.
  3. Sound:  My Turtle Beach headphones saved my virtual ass in GoW3 countless times, whether helping me identify where a Ticker (mine-like bug) was coming from or warning that the Mauler (yelling minotaur) was swinging his explosive flail nearby.  Of course every weapon in GoW has it’s own distinct sound, which is the ‘voice’ in a weapon’s personality.  So consider giving weapons, spells, & monsters in your game distinctive noises that will make them recognizable. And no discussion about GoW would be complete without mention of thehaunting trailers such as Mad World by Gary Jules for GoW1 & Last Day by DeVotchKa for GoW2.  GoW3 has 2 such musical twists: ‘Dust to Dust‘ by Mazzy Star + ‘Ashes to Ashes‘ by Sun Kil Moon. So if you have a full playlist of battle tracks, add slow songs such as these for a memorable combat.
  4. Equipment: The game’s backstory introduces a ‘retro lancer,’ which is a precursor to the chainsaw gun iconic to GoW.  This retro model is more powerful, but far less accurate, meaning it’s balanced.  Other such revisions include that Smoke Grenades now cause a larger cloud but no longer stun, Snub Pistols (sucky base gun) are stronger, & Scorchers (flame throwers) do less damage but have longer range.  All of these changes were in response to feedback.  So if a magic item/spell in your games seems unbalanced because it’s too powerful, normally DMs just ban it.  If the magic item/spell is too weak, normally players just avoid it.  But a way to get use of something that doesn’t work in your game is to create another version of it, better modified.  This can be an ancient edition or a recent technological development.  Whatever fits the backstory.
  5. Ending: The ending to GoW3 is bittersweet.  One of the main PCs has died, a family member to another main PC has died, & while humanity has won, the victory is clearly Pyrrhic.  Civilization has collapsed.  The world is ruined.  And while there will indeed be a tomorrow for the good guys, the central PC seems lost. In short, it’s a believable ending because it’s realistic.  So never be afraid to let a PC to die, & never be afraid to let the PCs get the ending that they deserve.  Because that is what everyone- the characters, the players, & the DM- has earned.

Thats’s Console Cleric, recommending aspects of GoW3 that can make D&D better.  But remember that while video games are fun & fast, RPG’s are where you can try anything.  ’Til next month.

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By LanJemWezz - October 7, 2011 - 2 Comments

The Art of the Small—Finding Fluff in the Crunch Since 1995 »

Well met, fellow gamers! Join me in a series that takes a 20 on a Spot Check examining details in the D&D game that provide role-playing cues. Recently, we began a gradual look at the core races and classes, touching on humans, dwarves, and elves, and this time we’ll wrap up the section on races with a look at gnomes, half-bloods, and halflings.

Part the Fourth: “I’ll race ya!”

Competition can help us excel. In a role-playing game like D&D, the players compete against the DM and, more specifically, the monsters and obstacles he puts in their way. Rarely do players compete amongst themselves. The goal of D&D play is cooperative not competitive. However, just as competition can help us to excel, so too can it have a place among players in relation to their characters, if we at first know where to look!

“I know you are, but what about ME!?”

Gnomes and halflings. These two most famous of D&D small folk have little to compete over at first glance (except perhaps their height), but a reasoned look at how each of their distinguishing traits might prompt them to act given certain in-game situations yields a different result. As small characters in a world of colossal dangers, gnomes and halflings may find themselves struggling to compete for attention over their larger companions. This competition for attention can be explored in even more meaningful ways when gnomes and halflings are both represented in the same party. While both share the same relative speed in most cases, the gnome’s vision is a shade better (due to Low-light), so gnomes may be led to seek point positions in the party formation as a way of demonstrating their worth to the party and stealing attention away from her halfling companion(s). Even other larger races with competing or superior modes of vision may be at a loss for words when they realize how easily the gnome becomes lost in the scrub and weeds that hedge the road they travel on, a fine deterrent against being detected, and something the taller elf or bulkier dwarf would have to work harder at staying hidden within. Point goes to the gnome.

Whereas the gnome’s vision may be better, the halfling’s natural athleticism is a boon few others can boast. The halfling’s natural springiness and clinginess may be just what he needs to risk scaling and scrambling up into places only he can go, not only to get a better vantage on the party’s surroundings, but as a means of grabbing attention away from the gnome and her “oh so sensitive” eyes. Point to the halfling.

How then does the gnome respond? An oft overlooked role-playing tool of gnomes is found in their magical touches, such as their familiarity with the languages of burrowing mammals, or their skill at illusion. These racial traits alone hold enough interest to fill an entire article. Suffice to say, anytime a member of the party stops to converse with a ground squirrel, hedgehog, rabbit, or furrow their brows at the strange noises and flashes of light emitted from the gnome, it ought to turn heads, and in the gnome’s case involve more than providing the player with a quick bit of information or a distraction. Perhaps the gnome has a special rapport with a specific type of groundling critter, styles her hair and clothes in a manner that is befitting such a relationship, or keeps such an animal as a pet and an easy means of locating others of its kind when needed? And if animals aren’t her thing, the gnome’s command of minor magics might yield specially colored balls of light or unique sounds that she entertains herself and others with. Getting back to the rivalry above: what better way to play point than to converse with the wildlife (all of which is connected to the local ecosystem and what happens there) about recent trespassers, all the while avoiding suspicion (save for the paranoid druid), or using those special magics to warn off or warn of specific dangers? Point: gnome.

“No problem!” the halfling says unflinchingly. Banking on his practiced arm and a good skipping rock, halflings can ensure all attention (including the unwanted kind) remains squarely on them. Next time the gnome goes to banter with a badger, or baffle the party with one of her magic tricks, sling a rock (remembering to target the space the critter or illusion occupies, and not the poor gnome or critter itself) and watch the conjured figment react falsely, or send the groundling fleeing for cover! Point: halfling.

No finer time can be had than watching these two small folk go at it. So long as the players are comfortable keeping the competition at a joshing, friendly level, and the DM is capable of maintaining a fair hand and nurturing the idea of role-play, not “rules-lawyering,” then back-and-forth moments like these between gnome and halfling (or any two characters for that matter) can be entertaining and edifying. When the gaming group can begin to enjoy the art of smaller moments like these, the bigger moments will take on an even greater significance.

Half-elves and half-orcs. Since we won’t be pitting these two against each other, and for the sake of simplicity, let’s call them the “half-bloods.” Half-bloods can experience an entirely different kind of competition: that between themselves and their full-blooded relatives. This kind of competition between races is less amusing and more serious. The disconnect and distance between the half-blood and her full-blood parentage is a hallmark (if not a stereotype) of the relationship these two races share, and is a mark of the depth of role-play and emotion that can be mined there. But what else does it tell us?

It’s important for us to remember that, unless the game is couched around such interactions, any non-hostile competition the half-orc enjoys will be with his human parent. While the half-orc may enjoy tolerance in human settings, acceptance may be harder to come by. Because of the blessing their darkvision provides them, half-orcs may prefer nocturnal activities; a time during which, because of their similar size, they are unlikely to be singled out by humans for their exotic looks. Half-orcs are still technically “orcs” though, so when it comes to making decisions like favored enemy for the ranger, choosing human or orc may have significant role-play implications for the character. For those who still adhere to the (now defunct) rule stating only evil rangers may choose their own race as a favored enemy, the implication is obvious. However, a half-orc who grows up around largely human stock may be conflicted over hunting humans. Then again, perhaps the ostracized and abused half-orc is a renegade in his own home, an urban ranger crusading through the alleys against the oppressive human rulers of his kind, or a wild ranger striking at travelers on the roadside or in their sleepy frontier towns. The half-orc who chooses orc as his favored enemy may have been bred to think that way, or outcast from his orc home as a “stain,” or suffering from a bloody crisis of identity or some other malady that urges him to kill his own.

Half-elves too struggle with their parentage from time to time. Examining what the half-elf “lacks” in racial traits with that of the elf yields some delicious fluffy bits. While most elves are predisposed to the use of blades and bows, the half-elf doesn’t come “prepackaged” with any such predilection. This means the half-elf should be compelled to express her martial tastes however she chooses. Players would do well to decorate this “blank slate” with a more eclectic arsenal, presenting a half-elf character with a more personalized, original look and feel, and a depth of weaponry choices that the average elf would be remiss to compete with (after all, for an elf to not take advantage of her given proficiencies is something of a waste). And while the elf boasts a slightly better suite of perceptive traits, this can also be taken to mean the half-elf isn’t as paranoid and flighty as her full-blooded cousin. Where the elf may be eager to use her skills of perception often (and more than likely to good effect), such constant “radar” tendencies won’t always ping a threat, and a little needling from the half-elf to the tune of, “Afraid of your own shadow are you?” or, “Admiring the sound of nothing, eh?” can only add to her character. Furthermore, the proactive half-elf might put her own personable traits to good use and learn all she can about a local area before venturing in, then base her travel and actions upon good intuition and forethought rather than pure on-the-spot detection.

When competing among humans, half-elves should never forget that they possess some of the same advantages. With freedom similar to that of a human (in terms of racial powers and/or multiclassing), half-elves can excel in several pursuits at once. While they don’t have the full flexibility of humans, half-elves will find it better to play to their other strengths. Within the party, in lieu of a competent bard, the half-elf is fit as a proper spokesperson with her penchant for Diplomacy. And in lieu of a competent scout, the half-elf is a passable lookout, regardless of class. The key for the half-elf player in this situation is to remember to diversify, making the half-elf the perfect role-player for where she can fit in the party. Half-elves rarely excel at direct competition on a one-to-one basis, and thus players should be ready to accept such a reality as the party rover. Additionally, DMs should recognize this phenomenon and be ready to seed their games with enough diversity so that the half-elf at least always has a chance at doing something the others can’t.

Looking at what the rules give us, we can see how what others in the game can do helps us to define ourselves a little bit better. When DMs create an atmosphere for players to let go of stereotypes and explore race in a way that is less fearful of failure and more true to character, both may find that games improve leaps and bounds like after donning Boots of Striding and Springing! So until next time, with swords high and daggers low!

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By loganbonner - September 30, 2011 - 8 Comments

Top 10 Tricks to Make your Villain Stand Out »

Welcome back to the column that breaks down gaming into what’s really important, ten things at a time!

Any story arc needs a good villain. The best big bads are more than just another devil or vampire or dragon. These ten suggestions can help take your villain above and beyond the ordinary and give your players a more memorable game.

1. Means to Power.

Why do people follow this villain? Is the villain charismatic, wealthy, or royal? Is it a demon that rules out of fear? Show this power in the actions of underlings. If the rank and file know that nothing the adventurers can do will be worse than what the villain will do to them if they fail, they fight viciously—and to the death. If they’re paid mercenaries, they might ask for bribes or complain about their wages. Whichever you choose, be blatant about it. Let the players see what their characters are going up against and what power they’ll need to break to bring down the villain’s empire.

2. Driven by a Goal.

The villain should have a single overriding goal that drives all his or her actions. If the villain were ever able to complete the goal, it would change the world in a substantial way. The stakes need to be high!

3. Sticks to the Plan.

Along with the goal, place concrete steps the villain needs to take to reach the goal. These can form the seeds for individual adventures or sessions. A dedicated villain doesn’t let failure at some of these steps detract from the big goal. Have your villain improvise and refit the plan as needed.

4. Keeps the Plan in Motion.

The villain should be making progress if nobody is stopping him or her. If the PCs go in a different direction or take their time, don’t just have the villain sit there and wait. Keep the villain proactive.

5. A Fatal Flaw.

Give your villain a weakness the adventurers can figure out and exploit. It might be hubris, a traitorous henchman, or a supernatural trait (like a vampire’s vulnerabilities).

6. Threatens What the PCs Care About.

Avoid faceless or generic threats. Having the villain go after some town the adventurers have never heard of is okay, but not as strong as attacking the base of their closest allies or kidnapping trusted friends.

7. A Widespread Presence.

Make the villain’s presence known in every corner of the campaign. The villain and his or her henchmen appear again and again, and the villain either has a hand in all sorts of plots or presents a threat that casts a pall over brave people.

8. Signature Symbols.

One of the best ways to make the villain’s presence known is by reusing symbols and calling cards. If all the villain’s followers wear black sashes or cut off their left ears, or if every piece or correspondence is written in silver ink on black paper, that provides a memorable cue for the players.

9. Keeps Poking Old Wounds.

Take note every time the adventurers fail to stop the villain, or let a part of its plan succeed. A good villain exploits those embarrassing moments and provides constant reminders so the adventurers can never live the failure down.

10. Has Boundaries.

Your villain will be more well-rounded if there are some things he or she won’t do. Does the villain refuse to fire on his or her own troops? Does the villain obey rules of engagement and refuse to resort to dirty tactics? How can the adventurers use the villain’s boundaries against him or her, and does it challenge their morals if they do so?

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