How to handle the non physical stats.

non-physical-stats

So in almost every Role Playing Game you have statistics or ability scores. Those numbers that are used to measure how strong, smart, quick, good looking, wise, lucky, educated and so on your Character is. These statistics typically relate to influencing the chance of performing certain actions or skills during a game session. Now the physical stats like (in Dungeons and Dragons) Strength, Dexterity and Constitution, are easy to Role Play. Its not hard to describe how your character with a seventeen Constitution runs at a good pace for twenty miles, or how your character with a high Strength, busts open a door with his shoulder. The challenge comes when we deal with the mental stats like Intelligence, Wisdom and Charisma (yes Charisma is partly a mental stat). This article is going to examine and address an age old problem in Role Playing games, and that is how does a person Role Play a character that is gifted or blessed in the mental department when the player himself is lacking.

Lets start by breaking down exactly what each of the three mental stats are and what they encompass.

Intelligence.

Intelligence in Dungeons and Dragons determines how well your character learns and reasons. It represents your characters ability to analyze information and the depth of complexity in which the character thinks.

Wisdom.

Wisdom determines your characters common sense, perception and intuition. It also relates to how much willpower your character has.

Charisma.

Charisma is a measure of your personality, personal magnetism, persuasiveness, leadership ability and physical attractiveness.

I will point out here that I personally believe that physical attractiveness should be a separate stat, but for this article that is neither here nor there.

In Dungeons and Dragons the typical range (before modifiers) of these Ability scores is between three and eighteen (the result of rolling three six sided dice). A three Intelligence for example is on par with an IQ of about 57, while an eighteen is about 143. A character with a three wisdom is largely oblivious to the world around him and just drifts through life, where as a character with an eighteen is extremely intuitive. In the case of Charisma, a three represents the social skills of a sponge and looks of that guy from the hills have eyes, while an eighteen represents someone with real personal magnetism, great personality and incredible good looks.

This is where my earlier point comes into play, I know some very good looking people with limited social skills, and some that look like they got hit with the ugly stick who have great personalities.

So where is the issue with this. The issue arises when a player is not particularly smart and he is playing a character that is highly Intelligent, what happens when the player can not see the answer to a solution, but believes his genius Wizard should be able too. Or someone who has limited tact and social skills is playing a Sorceress with very high Charisma, yet just does not have the skill set personally to bring that out in the Character. As the Dungeon Master do you test the Character or the Player? Do you allow the player to fall back on his Ability Scores and simply roll dice, and if so what happens to the Role Playing aspect?

Firstly in some cases the game mechanics do take care of this. For example, if you want to make a knowledge skill check, it pulls a modifier from your Intelligence ability score. Or in the case of Intimidate it will take the modifier from your Charisma ability score. Other times however the mechanics do not have a solution, and this is where the dice stop getting rolled and the Characters start getting Role Played.

Now you can (if you really want a mechanical and personality lacking game) roll for everything. Example. DUNGEON MASTER: “You see a strange looking mosaic on the floor. It appears that many of the tiles are not in the correct place. The door on the other side is firmly shut and has no handle!” PLAYER ONE:”I bet we have to solve the puzzle to open the door. OK Tom, your Wizard has a seventeen Intelligence, you solve the puzzle.” PLAYER TWO: “What Do I need to roll to solve the puzzle?” “The difficulty is a sixteen for this one.”

Of course the fun for all concerned is in the players actually solving the puzzle themselves, but what if they just can not solve it. What if they do not have the IQ that their characters have and make tough work of something that in theory their characters should have been able to solve easily. As a Dungeon Master where do you go at this point? Should you have created a puzzle or a situation on par with what the characters should be able to deal with, or should you have created it on par with what you believe your players could deal with?

Firstly I want to say that peoples opinions on this are going to vary, and there is no finite correct answer to this one. However there are several different options that you can use to deal with these situations, and the goal is to detail some of them and hopefully help you find the solution you feel happiest with.

My personal opinion (and that is all it is, so don’t get your Dungeon Master panties in a wad if you disagree) is we are playing a game, first and foremost. That implies that the PLAYERS are playing the game and not the characters. With this in mind my goal is always to “test” the players. I test their Role Playing skills as well as their mental talents with various situations, encounters and problems. I hate it when a player asks to use an ability roll to solve something that should be resolved through Role Playing and story telling. Sometimes however I over estimate my players and they get stumped. Now there is nothing worse than a game session where players just sit around and struggle to solve a problem. They get frustrated and bored, and often forget that while they detest the idea of toiling over a puzzle for thirty minutes, the situation their characters are in, feels very different to the character and they would be more motivated. Sooner or later this will happen to you and you will be faced with a dilemma. My usual approach to these situations is as follows.

Firstly when I create a puzzle or problem, I always make sure there is an out. It may not be an attractive one, but there always is one. For Example. I created a scenario during the Children of Drakhar campaign I ran on Howreroll. My party had a wealth of magical items at their finger tips, but had to solve a puzzle to get their greedy little hands on them. There was a one way portal out of the chamber, so they could leave at anytime. Now of course they did not want to leave, but they were able too. The key point here is they had an out. If I had made it to where they could not leave without solving the puzzle, I basically presented them with a solve it or die problem. You may be OK with that, but I never like to present players with no win situations. Alternatively you can present those kind of problems as a side room or encounter. Offer a reward if they solve it, but no detriment if they do not. Another option is to set an amount of experience points for the problem, and allow them to burn some of that EXP for hints. The hints get progressively stronger as the EXP goes down. Finally you CAN always allow them to roll against a Statistic, but inform them that there is no Experience point reward for solving it that way.Whichever method you use, you can still test the player first, and allow them to fall back on the characters ability scores as a last resort.

When it comes to social situations and the Role Playing of Charisma, it can be a bit more tricky. Some situations can be resolved by a dice roll such as a Diplomacy or Intimidation skill check, but even then its a ROLE PLAYING GAME PEOPLE so Role Play the situation! In the situations I like to let the Role Play happen first and then based on how well that went I apply my own modifiers. In 3.5 I may give a plus or minus to the skill roll based on how well they Role Played the interaction. In 5e I may give advantage or disadvantage. You still run into the issue of a player with poor social skills failing where his character with high Charisma should not have, but it is still a game so you have to allow the players to play and their performance in the game yields the consequences for their character. Another option, is to consider the characters Charisma ability score during the interaction, and be more lenient to a player who has a character with high Charisma. In other words, if they are talking to a Non Player Character, and what they said could be taken in more than one way, always let him take it the right way instead of the wrong way. Or visa versa if they have a low Charisma Score. This way the player still controls the interaction, but his characters ability scores still come into play.

I will wrap this up by repeating that I know this is a topic for contention, and is it right to test the player or the character? Well I think it is a choice of personal preference. I prefer to test the Player, for the reasons I stated above. This being said, I will not condemn  anyone that prefers the other route. What I do know from my decades running games, is that testing the players ALWAYS yields a much better Role Playing experience and a better story……………….

 

 

 

 

 

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Character creation & development. Thinking outside the box.

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So we all know that in most editions of Dungeons and Dragons there are just some skills, talents, feats or abilities that seem to rise to the top. For example a fighter in 3.5 just about has to take the desired weapon focus and specializations for his weapon of choice, and feats like power attack and cleave are almost impossible to ignore. So more often than not we start too see the same old fighter, rogue and wizard rising to the surface, with only the alignment, race and the way they are role played to offer diversity. Well of course if you are going to play in a min max environment, then you are going to take whatever feats you can to make you as bad ass as possible right? Most people immediately gravitate towards making their character powerful. However in this topic I am going to challenge you to think outside the box and remember that the best part of any role playing game, is the role playing itself!

Now when you create your character you have a wealth of options available to you, but yet most people only concentrate on getting big stats, and feats or talents etc that make their character Mr awesome. I have had many epic characters (stat and ability wise) in the past three plus decades and many gimp ones. The most boring character I ever played was a Knight who was seriously over powered. At the time I fell foul to the same trap as many and continued to take him down a development path to ultimate power. The luster of slaughtering every foe wore of quick and what was left was the fun of role playing his personality. In contrast the most fun I ever had was with a one armed thief with poor stats. He was so much fun to role play, and the failures he had were down right entertaining, while his successes were more epic due to his minimal chance of victory.

When you create your character, other than selecting a race and maybe the base class, you should begin by write his or her back story. I know many people write the back story after the character has been created, but doing it first will change the outcome of your decisions. A point about race selection. If you are going to be demi-human then for the love of Gygax make sure your character feels demi-human! Do not play it like its a human with special abilities. Explore the culture of the race in your character creation process, and let that be a part of who they are. Go back to your characters childhood and decide on things that happened to him that shaped his personality and desires. Put thought into his past life before becoming an adventurer, and then take this well developed story and decide where he would have gone next. At this point you can begin building the character, but instead of picking the “go too” talents for your class, pick ones that make sense for him to have acquired. Spend skill points based on experiences and not just on what skills make you the most effective.  It can be challenging to do this, as often you will be picking situational abilities that may be great at times but not as commonly used as something like Dodge, and the desire to be a powerful combatant will need to be repressed.

In regards to stats. Just because a clerics prime stat is wisdom, should he always put his highest stat in that ability? what if his wisdom was just adequate, but he decided to be smart and use his head as much if not more than his divinity? What if a fighter decided to make dexterity his highest stat, and use light weapons and go for feats like weapon finesse instead? Would a swashbuckler or duelist emerge instead?

As your character develops and levels, try to think about the tasks he performed, and the situations he went through, and spend skill points and pick feats that reflect them. Do this instead of picking the next logical feat that improves his bad assness. Try selecting non common feats for your character. Feats like improve trip or improved sunder are often ignored, but they can bring a lot of diversity and fun to the game and make your character something different from the norm.

In our current Howreroll campaign “The Children of Drakhar” , we have a female monk with some interesting ability choices. I am very interested in seeing how this character develops, and already her choice of improved trip has proven far more useful than something like cleave.

With a non standard character design your options for role playing this character will change. When this happens you will find you are able to embrace a different personality for the character, and as such break from the cliche. The fun to be had role playing a weak or less than perfect character, or just being different is far greater than that when your warrior kills an ogre in one attack round.

Giving your character a few quirks, even if they offer some type of disadvantage (like only having one eye) can give depth and open new doors when it comes to role playing the character. Choosing to be hard of hearing may mean you take a penalty to your listen checks, but it could be fun in certain social situations.

The characters I remember most from my years of gaming are the ones that were different and stood out. Not because they had max stats and were seemingly invincible, but because they were memorable due to being different and the unique quality they brought to the gaming session. For example. The Green Flash was a ranger who acted like a super hero. Bruce Custard was a Halfling chef and barber who fought primarily with a sling. Thaal was a barbarian that used to rip enemies apart bare handed. Tom “Nubby” Denton was a one armed human thief. Lindsafel was an overly compassionate and gullible female Druid. Fritzgig the bull headed dwarf, that played chicken with a charging Rhino and liked to headbutt his enemies. All these characters stick with me due to their interesting quirks and not their effectiveness in a situation. In fact many times Nubby Denton failed as a thief, and his failings out numbered his successes by far. Thaal could have done more damage with a two handed axe, yet when he lost his temper and just waded in fist firsts, it was far more memorable. And the Green flash was so full of himself and loud in both personality and appearance that he stood out like a sore thumb in any wilderness setting.

In time the joys of playing a powerful character fade, and you look back and do not even remember the names of the characters you played, or met along the way. That being said some will stick with you for ever. For me it has always been the ones that broke the mold or challenged the norm. Seeing the joy those characters bring to a gaming session can not be quantified for me as a Dungeon Master, and I am always willing to work with any player that wants to bring something “unusual” to the table, as long as it is going to improve the story and enrich every ones experience at the gaming table.

My challenge to any player is “make me believe in your reality”. I want to know without asking why you performed a certain action. I want to understand who you are and why you do what you do. I lose interest in cliche characters that act based on what is “best” for themselves all the time.

Learning how to create a good character is more than just knowing what stats to put where and what feats or skills make you optimal. I cringe at the growing movement for optimal character builds, and the way people are encouraged in making their characters like its something from a video game. A pen and paper role playing game character needs to have many more levels to it than just its stats, skills, feats and abilities.

Try building your next character outside the box, and really “going for it” in a role playing sense. You wont be sorry…………………

Finding your Dungeon Master persona.

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Every Dungeon Master has there own way of doing things. Of course there are those archetypes that some people fit into, but each one will and SHOULD still be different from the next. Just as each player has to develop a persona for his or her character, the Dungeon Master has to develop a persona for himself. Now I am not saying you should  become a short, stubby, red robbed wearing little guy with bad hair. No I am saying you have to find YOUR way of Dungeon Mastering. So lets look at some ways for the up and coming Dungeon Master to develop his style.

BE YOURSELF.

You are your own person. You have spent years learning to be the person you are so do not try to change who you are around the table. struggling to repress a personality is a sure way to be an awkward mess behind the Dungeon Masters screen, so let your personality live. If you are not an outgoing flamboyant type of person, then do not try to force yourself to become that when running the game. If you feel uncomfortable, you are not going to do the best job, so find a way to be yourself and still achieve your desired goal. A quiet reserved individual can run a game. They can take more of a third person approach and develop a more narrative style if they feel uncomfortable speaking AS the Non Player Characters. Your personality and how you interact with the players, will be part of what defines your game sessions.

Now while I just said to “be yourself” I will say that some personality types are not well suited to Dungeon Mastering. I find those who feel the need to “always be right” or lack compromise make poor Dungeon Masters, as do those who think being the Dungeon Master makes them some kind of god or overlord around the table. The job of a Dungeon Master directly goes against these kinds of personalities. Read this post for a better explanation.

BE REALISTIC IN YOUR COMMITMENTS.

Some people have more time on there hands than other. As such some of you may have plenty of free time to devote to writing adventures, creating encounters and world building. Other on the other hand may barely have time to run the session, let alone prep for it. Now while it goes without saying, being a Dungeon Master is work, you can lessen the work load in a number of ways. If you do not have a great deal of prep time, or you are not particularly creative then use the published adventures and material out there. You may find reading a pre written adventure and running it is a lot easier for you and less time consuming. Also if you do not have that “flair” for writing your own stories, you are probably going to have better game sessions that way. I have seen some horrible home made adventures being run recently, and the weak and lame story behind them made me cringe. Be realistic, and know that not everyone has that creativity. I am not telling you not to try your hand at creating your own material, far from it, just be honest with yourself and make sure you have the talent and the time to do it justice. If you realize writing your own material is not for you, well there is no shame in that. All editions have plenty of published material for you to use. Pathfinder (or D&D 3.75 as some call it) probably has the most frequent and regular support material that is always flowing off the press, so it may be a good system to use if you just don’t like or have time to write your own material. The bottom line is, if you do not have time to prep properly, then you are doing yourself and the players an injustice, so only play as often as you reasonably have time to prep for. Its better to run a good game every other week than a bad game twice a week.

BE CONSISTENT.

The idea of developing a persona or style is to allow you to be consistent. If you know you do not like speaking AS the Non Player Characters then run your game in the third person as apposed to the first person, but be consistent. If you have the talent to voice act and are going to do so that is great, but be consistent. If you are going to be a stickler for following the rules as laid out in the handbook, that is fine but be consistent. Players like to know where they stand. They do not appreciate a Dungeon Master who changes up the playing field too often. They lose trust in the Dungeon Master and begin to feel lost at the table. If you are Consistent the players will feel comfortable and settled. If you realize you do need to make a deliberate change to the way the game is running, to a rule or any aspect that your players have come to know as standard then you should discuss and inform your players before hand.

BE HONEST WITH YOURSELF.

Know what you can do well and what you can not. If you have an amazing memory and like to learn and read, then you can be one of those Dungeon Masters that can run his game without much need of referring to the manual. On the other hand if you may have a gift for storytelling and would rather play a rules lite version of the game. If you have a flamboyant personality, and a good vocal range you may want to voice act and role play your Non Player Characters to the fullest, but if that is not you, then you maybe you can become a great narrative Dungeon Master. The key here is to be honest with yourself and know what your strengths and weaknesses are. Do not try to run a game in a manner on which you are not comfortable or skilled at. We all like to think we have talents in certain areas but truth is often we are deluding ourselves. I was blessed with a varied octave range and little to no shame, so I have no problem acting like and impersonating a woman and even flirting with male party members. I know plenty of Dungeon Masters however that just would not and probably should not do that. On the other hand I know some Dungeon Masters that are walking encyclopedias and can quote you a rule as written and what page it is on and in which manual. I can not do that. I know my rules, but I sometimes have to refer to the manuals to clarify things. I just do not have that memory. Be honest and own your shortcomings and embrace your talents.

DON’T EMULATE.

I can not stress this enough. Why? well because it basically means you will not find your style or persona, and will go against everything we have already said. In this world of social and multi media (as I have mentioned before), I get to watch a lot of Dungeon Masters and players in action on line, as well as in gaming stores or other venues.

I have seen some good and couple of great “mechanical” Dungeon Masters. These are Dungeon Masters who concentrate on the depth and accuracy of the game and do not bother so much with first person, Voice acting, or being particularly animated. The Good and great ones know their rules inside and out when it comes to the game, and run awesome narrative stories. The poor ones however do not know the game and tend to fumble about the place and spend half the time checking on the rules.

I have seen some good, and a few great “storytelling” Dungeon Masters. The good and great ones really know how to develop the scene, set the mood and develop tension levels appropriate to the moment. While the poor ones do not seem to have a flair for language or description and lack the skills to develop mood and atmosphere in their game.

I have seen a couple of good or great “animated” Dungeon Masters. The good and great ones use their personality and voices to full effect. They truly become the characters that they are portraying and seem to be able to attribute and remember a vast variety of voices to their Non Player Character stable. They pull faces, wave their arms around and really throw themselves into it. On the other hand most I have seen are inconsistent in their method, have limited vocals and quiet honestly look more awkward and foolish than believable.

once again I say BE HONEST WITH YOURSELF! If you are not a walking encyclopedia, then do not try to be. Use the books. If you do not have the talent or comfort level to literally become your Non Player Characters, then don’t. Instead concentrate on clear and concise delivery of your narrative and information. It is far better to be good or great at what you CAN do , than poor at what you try to do and fail. Do not try to emulate others, trust me it shows when you do and if you do not have the skill set you will fall short. I do not name people directly but as I am writing this, my mind is thinking about those that I consider great at their destined style and method, and those that I have seen that I want to slap and say…. “NO! that’s not you, you cant be that person so stop trying to be, you look like a tool and you are doing your players an injustice”.

Every person is a make up of many things. So is a Dungeon Master. My hope is to help you become the best that you can be at any given time. I have spent over thirty three years honing my craft as a Dungeon Master and as I have said prior to this, I had to learn to be honest with myself and be critical of my own performance. I have improved immensely over time and most of my improvements were made by being honest with myself and asking for feedback. Once upon a time I studied the rule books and read them cover to cover like novels. I retained a good bit but certainly not as much as I would have liked. I have been jealous in the past of a friend who could read a book once, and seemingly memories it cover to cover and when he Dungeon Mastered never needed to pick up a manual of any kind during play. He (on the other hand) was equally jealous of my storytelling skills and ability to adopt a personality for each and every Non Player Character. Both of us however knew we did not posses the skill set that the other had, so were content to run the game our way, with the confidence that we did it well with our own particular style.

I finish by saying to be a good Dungeon Master requires much more than just developing a persona or style, but it is part of what will make you a successful one. I have been fortunate to play with many people over the past three plus decades, and I can say without a doubt all the good Dungeon Masters I have played under all had their own style that was true to who they were as a person. The poor ones all tried to be something they were not, and it showed………..

Home Brewing and House Rules.

home-brewing

One of the great aspects of any Role Playing Game System is that while the designers go to great lengths to create a wealth of material and game mechanics for us to use, none of it is set in stone. The forum posts I see where some Dungeon Master complains about this rule or that rule make me cringe, and the battle over which edition is best is just as agitating.

Before I go any further I want to make a point. While the mechanics are called “RULES” this term should be taken lightly and with a huge pinch of salt. I prefer not to even call them rules. The term “rule” implies that it is set in stone and must be followed or obeyed. This is far from the truth with any Role Playing Game system. Instead think of them as nothing more than game mechanics that are at your disposal to help facilitate the running of the game, and the telling of the story. Once you do this, you can see more clearly that any of these mechanics are open to change or modification by you the Game Master.

In truth any Game Master (with experience) worth his salt will have altered and modified the game mechanics to suit his own brand of story telling or game in some way. This article is going to address this and both give some advice and make some observations.

Each Game Master will (over time) develop his own style. This style will reflect how he runs the game, and the way in which he tells the story. The Game system that you use is the frame work on which your story will be built, and the mechanics are the tools you will use to create the outcome of events. This article applies to any Role Playing Game but for the sake of simplicity I will relate it to Dungeons and Dragons.

So lets look at Dungeons and Dragons as a game. It first come to light in January 1974 with a three booklet set. in 1977 it was divided into Basic and Advanced rules sets. In 1989 the second edition of Advanced Dungeons and Dragons was released, and brought with it many more options for players. In 2000 we saw the third edition come to light (under the new ownership of Wizards of the Coast), and shortly after (in 2003) was the revised three point five edition. Third edition changed much of the mechanical system that had for the most part remained fairly similar for the past twenty plus years. The year 2007 brought us fourth edition and almost simultaneously pathfinder (by Paizo publishing) which was a revised three point five rules set. Then the current release of fifth edition hit the shelves in 2014. Over the span of the games history it has gone through many changes. The current edition is a far distant cousin of the original game concept, and for those of us that have played through every edition that has ever existed, we can draw vast differences in not only how the game mechanics work, but in the overall feel of the game.

I am often asked “which edition is your favorite?” In truth I can not answer that. I have many fond memories of First edition and Advanced Dungeons and Dragons. I have a crazy amount of game hours with many groups of people sunk into running three point five, and I have had fun and new experiences with some younger players with fifth. My favorite edition changes based on who I am running the game for, and what kind of feel I want for the story. You see to me an edition is nothing more than a tool set to tell a story. Whichever edition I have to modify the least to get the feel I want to achieve is the edition I will use. I am not an edition puritan. I hear people give reasons why they prefer fifth edition over three point five, or why pathfinder is superior. Each to their own, but I do not view mechanics the same way as many. I borrow “rules” from various editions and discard others. I change and modify things to suit my style and the situation.

As mentioned in an article you can find here, I run a game differently for a virtual tabletop than I do a physical one. Regardless of who I am running the game for, or what base edition I am using for my tool set, one thing is certain. Its Home brewed.

The term Home Brew is basically the more recent buzzword for what us old guard used to call house rules. That is to say it is our own custom rule set or mechanics that we use for our individual game. To Home Brew with any benefit can only be achieved with some experience behind you. I know some fledgling Dungeon Masters that refer to their Home Brew system and it makes me chuckle a little inside. They barely know the game or have a good grasp or understanding of the mechanics, so to be changing them already is kind of like a new chef trying to restructure a family recipe after one taste. It is not a requirement, or a status symbol to have your own set of Home Brewed mechanics.

Before you begin butchering and modifying years of work, you should truly understand it. Only then can you make changes to it that can infer any benefit. Changing rules or mechanics for the sake of it can only impose a negative result. Each time a Dungeon Master changes and modifies a rule he alters what his players have come to know and expect. If he is going to do this he should be able to explain why he wishes to do so, and convince the players that it is a change for the better. Back in the early editions of Dungeons and Dragons, you gained experience points for gaining gold and treasure. It was originally envisioned to reward the thief class, but it did not differentiate effectively. This was one of the first rules I remember changing. When I found myself limiting treasure, not to be stingy to the party in wealth terms, but because I did not want them gaining to many experience points to fast, I realized I did not care for this rule. I explained my thoughts to my players, and pointed out that if wealth was linked to experience, then every foppish young rich noble would be a level nine fighter. I also told them that I refrained from giving out wealth at times because I did not like the fact that it encouraged players to horde and hold back treasure and caused imbalances in experience. They understood and agreed and so we changed the rules. You see the rules change ultimately offered improvement to our idea of the game that we wanted, and as such was welcomed and mutually embraced by all. I often speak about trust. The players have to be able to trust their Dungeon Master, and if they feel he changes the rules without their knowledge or understanding it damages that trust. Also any change should be mutually applied to both players and Non Player Characters where applicable. IF for any reason this is not the case then the Dungeon Master should be able to explain (with justification) why.

I do not intend to discourage home brewing in anyway, in fact I encourage it, but I urge Dungeon Masters and Players alike to not do so until they have a clear understanding of the system mechanics as is. Sometimes when you alter a rule, you indirectly break others. You should realize the effects your changes will have on all aspects of the game, and not just the individual situation in which you applied them. For example creating and using a critical hit system can seem like a great idea, but how does it work with the improved critical feat, and does it then make that feat over powered? So now do you have to modify that rule? and alter the crit range of certain weapons? also if it is to be a mutually used rule are you prepared to have a goblin lop off the rangers right arm? Often there is more to consider than you may see at face value.

Beginning play with a set of home brew rules, is also easier than altering and changing as a game progresses. If you begin a certain way, its easily accepted but if you change it mid flow, you have to look at who it may hurt or hinder and how will they feel about it. Remembering my golden rule that you (the Dungeon Master) are there for the benefit of the players and not the other way around is paramount. You may not like a rule but do your players feel the same way? You should consider discussing it prior to coming up with changes or implementing anything. Players will be accepting of a rule change that they know is coming but will almost certainly rebel at one that is imposed upon them without prior knowledge. The game after all belongs to everyone at the table, and not just the Dungeon Master.

When you feel the need to alter a rule, firstly you should be able to identify why it needs altering. Knowing the reason then allows you to measure the impact of the rule on the game, and think of ways to better balance this impact. At this point, you should mention your thoughts about why a rule does not seem to work to your players and see if they agree. Once you have an idea for how the change will work you should then discuss it with your players and see how they feel about this solution, or if they have any input on a better way. Once the idea of change is agreed upon, and the method of change accepted, then you can implement it. Doing this will ensure acceptance of the change, and make sure you continue to have trust in your players.

Another observation is that many do not record the changes to a rule or what home brew rules they use. You should. Writing these changes down is important for a few reasons. For one it is good to have for your own records but it is also good to be able to show a player the rule (as written). I typically also write the date that I applied the change. This serves to show players that it has been in practice since that time, and not something I just came up with and threw at them. Writing things down also helps you to commit them to memory.

I have different sets of home brew mechanics. Some rules I use with my very experienced players, that I would not with newer ones. I also have some that I use for younger players (kids) that i do not use with adults. I do tent to let people know however when I am using a particular modification and again I always come prepared to explain why. I remember one case when I mentioned a home brew rule I wanted to use (that i had done so with many other groups) and it was met with resistance. That particular group did not like the idea of the rule, so after we had discussed it and everyone put fourth their thoughts, we collectively modified it. They understood why I had changed the particular rule, but not how I had changed it, so we collaborated to find a solution. By doing this I showed the players that I was fair and that I was there to run the game for their enjoyment. It developed trust. I know several Dungeon Masters that would not have changed the rule and some who would not have even told the players that it had been changed. To me that is the typical “the DM is god” mentality that piss poor Dungeon Masters seem to share.

In closing, I say Brew your proverbial asses off! However only do so where needed, and be sure that your players know about it, understand it and agree with it. No one likes a dictator………….

The one when the Paladin died twice!

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I have mentioned this tale a couple of times live on Howreroll, so I figured it was time to tell the entire story with all the juicy details.

Many years ago I was running a game of second Edition Dungeons and Dragons for a group every Tuesday evening. The group of players consisted of a Dwarven Fighter, an Elven Ranger a Human Paladin, a Human Barbarian, and a Human Druidess. The alignments spattered from Lawful Good (in the case of the Paladin) to Chaotic Neutral (the Barbarian). We had been playing a couple of years and had run through many adventures and campaigns including the most excellent “Curse of the Azure Bonds”. During the parties adventures, several times the Barbarians choice of actions would be borderline questionable when it came to the morality of his decisions, and typically the Paladin was there to keep him on the right track and prevent or dissuade him from carrying out his desired plan. Of course, this lead to several arguments between characters, and often the Druidess (being true Neutral) would find herself stuck in the middle playing devils advocate and trying to find the compromise. One such situation arose when they were rescuing a prince from an evil mage, and had to break into a stronghold to free him. On the way in they had a scuffle with a patrol or guards, and after defeating them, took one alive to question for information. Well firstly the Barbarian wanted to “slap him around a bit” to get him to talk, and the Paladin protested this course of action and instead wanted to make a deal with the guard. The paladin (like always) got his way and approached the tied and bonded guardsman. “Now my big brutish friend here would see harm done to you, where I would seek to avoid such unpleasantness” began the Paladin. “I am sure you are guarding this citadel for payment, so I shall offer you fifty gold pieces and your freedom if you tell us how many others are inside, and show us a way to get inside undetected“. Well as the Paladin had correctly deduced, the guard was indeed only here for financial reward, and had no real loyalty to his employer. He agreed to the terms and after informing the party that the citadel had a Garrison of forty men at arms and the wizard that employed them he showed them to a secret way in through the water drainage tunnel of the citadel. At this point the Paladin intended to just let the man go, but the rest of the party did not like this course of action. “I don’t trust him to sod off quietly!” said the Dwarf. “I agree” said the Elven Ranger, “what if he alerts them to our presence“. “I gave him my word!” said the Paladin, “and I shall not go back on it!” As was often the case the Druidess stepped in with some sense of compromise. “Why don’t we tie him up and gag him, and leave him just inside the tunnel for now“, she began. “We can free him on the way out, that way he can not raise the alarm and you sir knight will not be breaking your word.” After a little more discussion they agreed to this plan. All except the Barbarian. “I say we kill him to be safe“, he protested. “It’s the only way to be sure, besides what if we don’t come back this way?” “well then his fate is tied to ours,” said the Druidess. The party decided to tie him up and leave him in the tunnel despite the Barbarians protest, and made their way down the tunnel. The Ranger scouted a little ahead, with the Paladin not far behind and the Barbarian brought up the vanguard. However the Barbarian decided to lag behind a little and once he was sure the Paladin was out of ear shot, he promptly broke the guards neck, and caught up with the rest. Our heroes saved the prince and left the citadel by way of the same tunnel they entered through, as the Paladin was insistent that they go back to free the guard. Well upon finding the guard with his neck snapped, the Paladin immediately suspected the barbarian and set to questioning the rest of the party as to how the guard came to be killed. He stated that only the Barbarian and perhaps the Dwarf were strong enough to literally snap the guards neck like a chicken and  stated that he did not believe the Dwarf would do such a thing. The Barbarian denied the accusations, and eventually the party let it go and moved on, but the Paladin stated that he would be keeping a very close eye on the barbarian from here on out, and that he did not trust him in the least. These kind of things happened often through out their adventures and a deep seeded resentment began to take hold of the barbarian.

This brings us to where this tale really begins. During the Curse of the Azure bonds, our heroes had made some very powerful enemies. One of which was an Ancient White Dragon named Shiverlended. The Evil Dragon had sworn revenge on the party, and a couple of years later had found them and was ready to enact his revenge. He setup a trap in which one of his sons, an adult white Dragon named Ebenblight would attack some local farms and villages, and make sure he was seen retreating to some nearby mountains. Our heroes (as per the dragons plan) would seek him out to destroy him, and when they came to do so Shiverlended would also be waiting and together he and his son would destroy the heroes once and for all.

The party did indeed take the bate and set out into the mountains to find the white dragon and slay him. Eventually they found evidence of a lair upon a large ledge on the mountains east side, and prepared to enter and slay the beast. They made their way into the large cave and in doing so found not one white dragon but two! “Remember me you filthy human scum?” bellowed Shiverlended. “Now DIE!” Both dragons unleashed their breath weapons in unison, and the heroes were terribly injured. Although none died (partly due to good saving throws) the Druidess was down to only eleven hit points and it was clear to the party that this was not a fight they could win right here and now. There only option was to retreat, but they had no time to discuss an exit strategy.

Now I will take this moment to mention these were some decent players. They did not meta game, or abuse player interactions around the table to discuss things at length that should happen in mere seconds in the game world. There was none of the common reactive actions that you often see from players. for example, when a player says something like “I rush forward and attack the wizard,” and another player says “No don’t do that we need to take him alive.” The players character did not SAY he was about to do it out loud before he acted, he just did it, therefore by the time the rest of the party was aware of his intended action it was happening. Their was no time to discuss it, so they could only react to it after it happens. This is a pet peeve of mine, and while I will be a little tolerant of it from new players, I have zero tolerance for it in players that should know better.

Anyway getting back to the story. With this in mind, the players did not discuss any plans, but just reacted in turn. The Paladin at this point declared in a bold voice, “There is no way we can outrun these beasts, I will hold them off as long as I can, you all save yourselves!” and before the rest had time to protest he charged head long at both the Dragons with a valiant war cry. This of course was suicide but as a Paladin he was willing to lay down his life so that his friends may live.

The rest of the party did indeed retreat as they realized if they did not they would also perish and his great sacrifice would be for nothing. The paladin of course was killed but it was a memorable death, and one worthy of a fifteenth level Paladin of Tyr. The rest of the players commended the player of the Paladin for his selfless act (one that I know many players would not have done, as they would not have voluntarily gave up a fifteenth level Paladin that they loved). At this point the Barbarian surprised everyone by simply saying “NO!” “We can not allow such a sacrifice to be made for us without trying to save our friend”. “I say we wait, and go back up there and reclaim his body, then find away to have him resurrected. Such a valiant act deserves no less“. The party agreed and I wrote a new side adventure in which the party would quest to have the Paladin resurrected.

The side quest took several weeks and during this time the player who owned the dead paladin was playing a twelfth level rogue in the short term. The quest was not easy, and the Druidess almost lost her life in the process, but eventually they were able to have the Paladin resurrected.

It was a joyous time around the table top. The Paladin was back! His heroic sacrifice to save the rest of the party was going to be talked about for years to come. And of course the Paladin himself was glad to be back among the living once more, ready to face the forces of evil in Tyrs name once again. And then it happened.

Freshly resurrected, the Paladin was low on hit points. A simple matter of a few healing spells from the Druidess would solve this minor issue however, that is it would have if she had been given the chance. Suddenly the barbarian launches a full attack on the Paladin and hacked him to pieces making him dead for the second time. The Paladin had barley been alive enough to thank the rest of the party for bringing him back and now he was dead once more. The rest of the players looked on in horror as this even unfolded, and as the Barbarian stood looming over the twice dead Paladins body he utters the words that to this day get repeated by the players. “I hated that guy, but no one kills the Paladin but me!“……

The art of war. Combat in Role Playing Games.

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Combat is a thrilling  aspect of any Role Playing Game. Many players live for the thrill of the fight and enjoy it more than the actual Role Play itself. Rolling dice and seeing those desired numbers show face up, or landing those critical hits is exciting. Combat is however more than just rolling dice and having the numbers dictate the outcome. In this topic, we will look at how to make combat really come to life, and how to get the most out of those battle encounters.

We will begin by looking at designing a good combat encounter. Firstly we need to ask ourselves why will this encounter result in a combat? If it is a simple ambush, well then you already know the answer, but many encounters can result in combat where they perhaps did not need too. When I have an overzealous party that tends to hit first and ask questions later, or who has problems keeping their ego in check, I often deploy an encounter I like to refer to as a “swing encounter”. The Gorebad swing encounter is basically one that can go either way depending on the attitudes of the characters. For example I recently used a rather grumpy and agitated Weretiger to do just this. The characters had begun to bully their way through encounters, and had started developing egos that were eventually going to result in them biting of more than they could chew. I saw this eventuality looming so I decided to drop in this Lycanthrope. Now Weretigers are typically true neutral in alignment, so their actions are largely situational and are dictated by other outside social triggers. The characters met him in human form, and he was (for reasons that would become clear later) viewing the characters with suspicion and was a little stand offish. I had decided that he would either help or hinder them depending on how they interacted with him. A positive interaction would win them a potential ally, while a negative one would land them in a tough combat situation. I did this to illustrate to the players how sometimes you just have to know when to not push back and hold your tongue. The players chose wisely and avoided combat. If this had become a combat encounter however, I would have had a clear understanding of how and why the fight took place, and as such would have known how my Non Player Character or monster (in this case the Weretiger) should act. The combat would have taken place in a wooded area, one that my Weretiger would have been very familiar with and one that my players would not. This being said I would have used the monsters knowledge of the terrain to his advantage. Also depending on how the combat was going he may well have retreated and possibly came back at a more advantageous time. Determining the motivations behind the combat is important in being able to run it with substance. Are the players the aggressors or the victims? Is it on either sides home turf? Do the Non Player Characters have strong motivations to stand their ground, or may they break and flee? Are reinforcements close by? etc.

It is important to set the scene for the combat encounter also. Terrain and surroundings play an integral part in how a combat plays out. History tells us that three hundred Spartans held the narrow pass of Thermopylae for three days against tens of thousands. This was only achievable due to the location that the battle occurred. If they had met on an open battlefield it would have been a short and bloody massacre. Chapter ten of Sun Tzu’s the art of war discussed terrain and its effects on a battle. Indeed it enlightens us to how a battle can be won or lost based on where the battle takes place. This can and should be a factor in the combats in which your players find themselves in. Aspects such as height of terrain, difficulty of movement, items of cover, visibility and temperature all play a factor. Too many Dungeon Masters ignore this aspect of combat and allow combat to become a toe to toe turn based dice fest.

Not every combat has to start and end in one encounter. Indeed many good battles play out over several encounters. Recently on Howreroll the players took three separate encounters to take down one particular Necromancer. Making what could have been a simple end boss encounter, a chase that lasted a couple of weeks in game time. It also made for a much more climactic showdown when they finally did corner and ultimately defeat him. After the first battle both the characters and the Necromancer knew a little of the others tactics, so the dynamic changed the second and third time they fought. And again this change in dynamic altered the combat substantially. A good reoccurring villain can be a great source for great combat encounters in this way. Either he manages to evade capture time and time again or the players may keep slipping through his fingers if he is the pursuer, but each encounter has epic potential, especially if used with correct timing, and not over done.

The next thing we will look at is how to describe combat. Simply saying “you hit, you miss” is boring! I like to describe the combat step by step and blow by blow. Players love to hear the details of how the final blow dispatched their foe, or what the effect of a particular successful sword strike was. On our live Dungeons and Dragons show, I try to describe each and every hit, miss, crit and fumble. I keep the descriptions short, but I make sure they are imagined. My descriptions are dependent on the players actions and the outcome of the dice rolled. So for a narrow miss I may say something like, “you lunge with your long sword at the Orcs unprotected belly, but at the last minute he is able to bring his cleaver around and manages to narrowly deflect your blow to the side”. Or for a high damage hit that does over twenty five percent of the enemies hit points I may say, “your powerful overhead swing strikes the ogre and opens up a deep gash in his thigh. He glances at the open wound as the blood flows down his leg, and he takes a step back to reassess the situation. He no longer seems so eager to rush in”.

I recently had a private message from one self proclaimed “veteran Dungeon Master” (of ten years) who told me that I should not describe the players blows and I should let them do it themselves. I totally disagree and here is why. Hit points are relative to the creature. Hitting a goblin for six damage may be an almost fatal blow, where as to a hill giant it is little more than a scratch. The players do not know how many hit points a particular enemy has, especially in relation to enemies with a class, so they are not effectively able to accurately describe the outcome of any given hit. That being said I am all for and encourage a player to tell me and describe what he is TRYING to do, but the outcome of his action is mine to explain. I also like to improvise advantages and disadvantages that may occur to one side or another during combat. If the players make a particularly high damaging hit on a monster, I may have it back of, and hold its attack that round, as it rethinks its strategy. Or I may have a high damaging blow drop the target to one knee, robbing him of part of his move action the next round. While these things may not be part of the combat mechanic, they add something to the combat that makes it feel more real.

We just mentioned that we should encourage players to tell us what they are trying to do. I do not mean in them saying I attack the Troll, or I cast Magic Missile, no I mean describe how it is to happen. “I swing my broadsword with all my might at the Dire Boar” can be a descriptive way for a player to let you know he is using his power attack feat. Or a player who’s character is a bard may start singing an eighties power ballad and in doing so lets you know he is using his inspire courage ability. I like to encourage descriptive combat in my players also so I will often give bonuses or allow successful skill checks to infer combat bonuses. Here is an example of what I mean by that. A group of players are battling some pirates aboard a ship. One of them just finished of his adversary on the raised bridge of the ship and looks down and sees one of his comrades pressed by two cutlass wielding sea dogs. He knows if he runs down the stairs it will be two rounds before he can aid his friend so he asks “are there any ropes or anything I can use to swing down to the lower deck”. I like where this is going with this, so I tell him “YES, there is a rope within reach that is tied off on the rail behind you”. “OK” he replies, “I try to swing down on the rope and I want to try to slash at one of the pirates as I swing by”. In this situation I would have him make a skill check to swing down on the rope and a bad roll may land him in a compromising situation (or give him disadvantage in fifth edition Dungeons and Dragons rules) where as a good roll may have a bonus effect (or give advantage). Never be afraid to reward creativity in your players when it comes to combat. They will be more inclined to be descriptive and really get into the fight if their actions can change the outcome and make it more exciting.

A prime example of some of this coming together can be seen here at minute 42.30. During this episode of the Marks of intrigue, a bar fight breaks out and all manner of improvised attacks and terrain come into play.

Finally lets look at mortality in combat. When two groups of people engage each other with weapons and magic, people have a tendency to die. While it is common for the monsters and some Non Player Characters to bite the dust, it is a much bigger deal and less common when it happens to a Player Character. With this in mind what is a Dungeon Master to do when he confronts the players with a fair challenge and due to their poor dice rolls and his good rolls the players are loosing to a band of goblins that they should easily be able to defeat. Well this really comes down to your individual style of Dungeon Mastering. many Dungeon Masters will tell you that they will modify a few of their own dice rolls (behind the Dungeon Masters screen), to balance this. Others will tell you that they do not baby their players, and the dice can be a cruel mistress to all equally at times and it is down to the players to retreat from a fight that is going badly for them (assuming they have the option). I have my own views on this and they alter a little depending on who I am playing with. With a die hard experienced group of players, sometimes I roll openly and let the dice fall as they may regardless. Other times I may fudge a roll here or their to be lenient to a newer group of players. Regardless I always allow dice to fall where they may during epic encounters or if the players put themselves in harms way through stupidity, despite fair warning. To me it comes down to trust. The players must trust you as their Dungeon Master to be fair and treat them with consistency and equality. As long as you achieve this I am not going to berate you for your choices. My goal is always to strive for open rolls but I also realize from time to time this can add to much of a random element to something that should be less so.

Combat is not the be all and end all of Role Playing, but it is a fun and integral part of any system. Taking steps to bring it to life and make it believable, is just as important as the work you put in to develop a viable world for your players to explore. There is so much more I could say about combat, but rather than lengthen this topic any farther I will just leave you with this.

“War is hell, but that’s not the half of it, because war is also mystery and terror and adventure and courage and discovery and holiness and pity and despair and longing and love. War is nasty; war is fun. War is thrilling; war is drudgery. War makes you a man; war makes you dead”. ~Tim O’Brien, The Things They Carried

Controlling your Emotions in a Role Playing Game.

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As a Game Master or Player in any Role Playing Game, we have the opportunity to become something other than ourselves. We are afforded a chance to be a powerful wizard, a space marine, a great warrior or even a dragon. As we play out these roles we act in a manner different than our own true nature right?

Well truth be told while most of us do in fact “play” the character or Non Playing Character and give them a twist of personality, many of us inject our own subliminal character traits into said character without much thought or control. Often we will allow our own emotions that we feel as the player, directly influence the actions of the character. In many cases this is not a bad thing, as if we feel empathy to a situation, then maybe our character would too, or If we feel saddened by something that occurs during the game, maybe our character is upset also. For example. Recently during a game session on Howreroll two of our heroes were faced with a dilemma to acquire the song of a Siren. They needed it as a bargaining chip to free a fellow part member and sister to one of the characters. They made a deal with the Siren, that they would find and return to her a stolen heirloom, in exchange for her voice (that she would sing into a magical box that they had been given). Upon returning to her with the heirloom it was time for her to make good on her part of the bargain. She was very emotional about parting with her voice and as such the players began to feel guilty, So much did I pull at their heart strings (sad back ground music and all), that one of the players actually teared up. Her character in turn became very emotional and it made for a great moment of role play.

I have also had many other occasions when a player allowed their negative emotions to affect the decisions of their character. Either the player getting mad at an influential Non Player Character (or me as I am the one playing it), and then in turn their character reacts in a foolish way or in a way that really should not have been characteristic of that particular character. I have also had situations when a player who has had a bad day, projects his grumpiness on his character and as such the character is short and snappy in his responses to others. When the negative emotion of a player is allowed to affect the choices made by their character, it often leads to issues at the gaming table. Poor choices and decisions are made, where calmer and less emotional people would have chosen better ones.

The unchecked emotions of a person can have a negative influence on game play both as a player and as a Game Master. We will look at both separately, but several of the points we will touch upon apply to both sides. Then we will look at ways to help control the situation so that it does not have a negative impact on play.

Controlling your Emotions as a player.

As a player you have a character that you are in control of. This character is represented by statistics, skills, abilities and traits that provide the understanding for the make up of the individual you are playing. He may also have an alignment (in the case of Dungeons and Dragons) that lay out some basic guidelines to how he should act. Beyond that the personality of the character is decided upon and played out by the player himself. Everyone is different. Some people are laid back while others are bold. Some are quiet while others are loud and boisterous. The challenge is in playing a character that does not match up to our own personality. Its easier for a quiet and timid bookworm to play a withdrawn and reclusive wizard, just as it is easy for an outgoing and confident person to play a bold and brash warrior. For the bookworm to play the “in your face” Barbarian, that is the challenge. To see him be able to  act in a fashion that he typically shy’s away from is more outreaching. The test for a player comes in being able to separate the feeling he has as the player and decide if those feelings are appropriate for his character. To do this it requires you to be able to take control of your personal feelings and emotions and put in your own stop checks.

Firstly if you are one of those people that can be honest with yourself and are able to understand your personality, then you are far more likely to be able to take steps to control it. Some people have issues with confrontation, or have a problem keeping their temper in check as in the player I mentioned in a previous post that you can find here. Of course in that post it was more an issue with the temper of the player around the table and not that he injected his temper into his character. More frequently the issue is that the player allows his personality to affect the actions of his character. I have even seen a very negative individual try to play a Paladin, and it be one of the worst portrayals of that class that I have ever seen. in fact after only four sessions his Paladin lost his abilities and fell from grace. Sometimes even the most level headed and positive individual has a bad day. Being able to put that in check when you sit down at the gaming table is important. Bringing negative emotions to the game can literally get you killed!

It is vitally important to remember that the Non Player Character you face is NOT the Dungeon Master! If you are ticked at your Dungeon Master you should not transfer that to each and every Non Player Character he presents you with. In turn you should not be aggravated at your Dungeon Master just because a particular Non Player Character got under your skin. It is a foolish player that does this, and it will only ever serve to hurt your character in the long run.

Many people have an Ego. An ego at the gaming table is rarely a good thing. Keeping your ego in check is important, even if your character has a big ego. Your personal ego will cause you to write checks that your characters body can not cash. Understand that your ego and the characters ego should come from different places. Whatever events that happened in your life to shape your ego are different from the ones that happened to shape the ego of your character. So once again it is important to separate your ego from your characters.

Controlling your emotions as a Game Master.

As the person who is ultimately responsible for the control of the game, you can less afford to have unchecked emotions than a player. If you have read other topics on this site you may have heard me say several time that not everybody should be a dungeon master. This is another reason as to why. If you are the kind of person that can not control your emotions you should never be a Game Master. I mean it, NEVER! There is nothing worse than a Game Master that acts based on feelings towards his players or based on his emotional state that the day has caused.

As the person running the game, it is your job to serve a great game to the players and do so with fairness and impartiality. You must also have the trust of your players. If you can not be impartial you will not have trust and your game will implode. I have seen way to many dungeon masters play favorites, or due to a current negative feeling towards a player they pick on his character. I cringe when I see this. They can try to fob it off with excuses but as a student of personality and as an empathetic person I see right through it.

Here is a hint. If you ever play in one of my games, do not ever think you can fool me by reacting in a certain negative way and then trying to palm it of as “that’s what my character would do.” I see the expressions on players faces as they act, and I can tell when an action is based of off personal emotion state, or made with a level head.

For the Game Master trust is everything. If your players do not trust that your actions will always be fair and impartial then you can not have a good game. I will not play with a Game Master who clearly plays favorites, or with one who is guilty of emotional outbursts. The biggest issue (when discussing emotional control) I see with Game Masters is in unchecked egos. There is no place for an ego in a Game Master. You can be an egotistical prick in real life but if you can not park that ego at the gaming table do not run a game! As a Game Master you can do anything. You can kill the players on a whim so what is there to be egotistical about? The player all know you have the ability to kill them, so you have nothing to prove. This being said it is frightening how many Game Masters have “god” syndrome or feel they need to remind their players of the power they wield. Once again these people have unchecked egos, and they do not have the respect of their players. I actually heard a Game Master say this once. “Hey you better be nice to me, or I will upgrade those six orcs to six trolls and then your fucked!’ He was kind of joking (partially at least), but this was the kind of personality that he had. These kinds of comments are just a reminder to the players that you (the Game master) are god. Well those who think that need to get over themselves and learn what being a Game Master is really about. As I have said before you are more servant than ruler.

So we have outlined the responsibilities of both player and Game Master when it comes to emotion and ego management. It is fair to assume that some of you reading this may have difficulty at times in checking your feelings, and may even be able to own up to times when you have been guilty at the gaming table. Lets look at some ways to help you keep it in check.

  1. Create a ritual that allows you to switch into game mode, and shed the negative aspects of your day. This is one of the reasons I believe a thirty minute pre-game session is a good idea, as it lets you get the stink of the day off of you and get mentally prepared to play.
  2. STOP and remind yourself before any action that you are NOT your character. It can help you refrain from acting on personal feeling and allow you to rein back in those emotions.
  3. Remember that nothing is personal to the player during the game. The negative things that occur during game play are to the character, and not the player.
  4. Develop and practice trust. Make sure that you remember that the players and Game Master need to have mutual trust, and remind yourself of it before you act.
  5. Remind yourself that it is a game. Yes you can have personal ties to your character but at the end of the day it is still part of a game and the negative things that happen to it should never be allowed to cause negativity in the real world.
  6. Be honest with yourself. Being able to realize when you may be acting in a negative way is important in keeping it in check.
  7. If its that bad DON’T play. If you really are having a hard emotional time of it, then its better to remove yourself from the situation. No one likes missing sessions and in the case of the Game Master we often feel obligated to play even if we do not feel like it. Truth be told if you do play under these circumstances you are probably doing an injustice to your fellow players.

Because Role Playing Games are a social endeavor, it is important to understand how emotions can play such a large part in the outcome and fun of the game. Most of us know better than to be rude to a stranger in real life just because we got a parking ticket ten minutes before, yet many are OK with their character being a total ass to the first Non Player Character they meet, just because they themselves are in a piss poor mood. Remembering that during play, you are responsible for the actions of your character, and his or her actions should be based on their situations and experiences within the game world. They should be unaffected by the events of our world, and by your emotional state…………….