Dragons

Tabletop Highlight: Critical Fails

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Critical failures are some of my favorite parts of Dungeons & Dragons as a Dungeon Master. I don’t particularly enjoy my players failing at something because I generally want them to succeed, but it certainly opens the moment for some interesting improvisation on my part. A healthy dose of random interjection keeps even the mundane parts of a campaign from growing stale.

I’ve introduced new enemies, added a whole layer of complexity to my world, and even killed someone else instead of the person who just rolled three 1’s in a row. People really ought to be more careful when they’re shooting into melee combat, really. They also need to stop accidentally summoning Outsiders to the material plane, thereby ushering in the eventual collapse of the universe because Outsiders are pure entropy and cannot be killed because entropy can’t be killed without breaking every law of the universe. And then you have bigger issues than entropy.

Aside from attack rolls, there are a few other critical fails that can be a lot of fun. Catching something or throwing something is a stat check using dexterity. If a player rolls a critical fail on a toss or a catch, it can be a lot of fun to describe what got broken by the fumbled throw. My personal favorite strength check failure was the giant, manly barbarian getting a splinter from the door he was trying to break down and being unable to do anything until he got it removed. A close second was the drinking contest. The Dwarf was trying to bond with the half-goliath barkeeper and decided drinking copious amounts of alcohol was the best bet. The dwarf lost, of course, but the fun was in describing how he got blindingly drunk and accidentally drank the barwoman’s dishwater. He burped bubbles for forty-eight hours because he didn’t even fish the bar of soap out of it first.

For saving throw’s, the fails are often a little more catastrophic. Just last night, one of my players turned into a water-breathing creature so he could avoid drowning in the swamp (a crocodile had tried to drown him and failed). Since it was a bunch of still, disgusting water that he spent a while swimming around in without doing anything about his open wounds, I had rolled a secret save versus disease, just to see what would happen. He rolled a 1 and thus caught an ingested disease because he kept accidentally swallowing swamp water while trying to breathe it. Good times. Waking up blind is always a great way to start the day.

In less extreme circumstances, critical failures just make for great flavor. Have someone critically fail their save versus a magical attack like a fireball? Throw in a comedic moment where they miscalculate and take cover behind something that’s just going to make the explosion worse, like a source of tinder or something easily flammable. Crit failing their Reflex save to avoid a trap? Have them dive the wrong way or have them just leap straight up in the air. Crit failing their Will save to see through illusion? Have them enthusiastically participate in the illusion. The possibilities are endless if you’re quick on your feet.

Past experience has taught me that there’s an important line to walk as a DM between throwing in extra penalties for critical failures and just adding flavor. If the moment is super tense and everything rides on this moment, be wary of adding flavor. If everyone is caught up, they likely have their own mental images of what is going on, so you want generic details that will meld with whatever they’re seeing. Penalties make this easier as you’re adding a new aspect to the image rather than changing something existing, and you can always add flavor on top of a penalty. If someone just failed something very routine, penalties can cause the session to drag, so extra flavor is usually the way to go unless you have something important hinging on this routine task.

The great thing about being a DM is realizing that all rules are situational and that you are the ultimate arbiter of what is right when you’re running a session. Figure out how you like to use critical fails and hope you get enough opportunities to put them to use. All that really matters at the end of the day is that everyone is having fun, whatever form that takes.

Tabletop Highlight: House Rules and Homebrew for D&D 3.5

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I’ll admit that I’m probably a little biased when it comes to which D&D version is the best. Almost all of my playing and running has been in 3.5 or the common mix of 3.5 and Pathfinder because the 3.5 set of rules is expansive. An expansive set of rules means it is relatively easy to find rules for something that can be nudged to fit what you want to add. Additionally, the patterns created by the existing rules make it easy to extrapolate how the system should apply to something without rules or how to change existing rules without breaking the game. As a DM who loves to tell a good story, these two things make 3.5 easily the most appealing rule set out there.

While I do all of my high-level planning and preparation ahead of time, there is a lot of small stuff that comes up during sessions I can never be prepared for. Particular shopkeepers, NPCs the players want to talk to, city layouts, the state of the black market, and so many other things my players will randomly and inconsistently want to know. In addition to that sort of thing, no amount of preparation is going to prepare me for what I need to have prepared when the players decide to take a path I hadn’t foreseen or do something that requires rules that either do not exist or that need to be modified so they’ve actually got a fair chance to fail or succeed.

For instance, I like to give my players options when they spectacularly fail certain types of rolls. A common house rule is that a string of critical fails on attack rolls can instantly kill the player’s character. I like the idea of this house rule, but a lot of players will get upset if they accidentally kill themselves like this because it feels just so stupid and random. If they died because of a choice they made, at least they feel like they earned it. So, instead of just killing them outright, I give them the choice of taking the death or taking something entirely random that could possibly be worse but would allow them a chance to survive. This way, they feel like they still have control of their character and, should they die as a result of the something else.

The only problem is that I have to make up whatever is about to happen without any preparation. A new monster, some interesting application of the rules, or even an entirely new encounter or dungeon. All of this stuff is the sort of thing I typically prepare beforehand because making it up is difficult. Without the expansive 3.5 rule set and all of the online resources people have created for the 3.5 rule set, it would be impossible.  Since I know how the basic rules are applied across the entire system and can find a bunch of different templates, abilities, and creature types, I can find a way to meld all of it together into whatever new creature or situation I want to introduce to my players.

This sort of new rule or new creature is called either “homebrew” or a “house rule.” Homebrew is anything made up by someone other than an official D&D source. A house rule is anything that a DM indicates is a rule that applies only to the particular campaign they’re running, though it may show up in multiple campaigns. Homebrew often involves house rules and most house rules are homebrew. A house rule that isn’t a homebrew rule is usually used to exclude something. For instance. I almost always ban the Tome of Battle because it creates these ridiculously over-powered characters. The only time I’ve used it was to create a tough fight for my players by giving a recurring character levels in a class from it and the one character nearly took out an entire group of six players of the same level. That’s too much power. Most of my house rules are exclusions, since a by-product of the expansive 3.5 rule set is stuff that is over-powered as a result of one-off campaign modules that introduce new rules and I have players who like to visit forums to find the best way to make their characters O-P.

My favorite house rule adds two homebrew systems to the game, called Individual Magic Effects and Character Legacies. The IME rule is taken directly from the webcomic that inspired it, giving characters a particular visual-only effect whenever they use magic or that affects the way their magic items work. Character legacies are a bit more complicated, but can give the player characters bonuses or penalties to their character depending on what the legacy means. Got a player obsessed with glory and hunting? He or She gains bonuses when they prove their prowess and bring back trophies, but gain penalties when their quarry bests them or they fail to find it at all. The bonuses and penalties can change depending on what the character hunts and how the player decides the character will act. An egotistical hunter might have charisma penalties for dealing with some people but a bigger bonus for dealing with most people while a more friendly hunter might have bonuses when it comes to bartering or doing hunt preparation.

Neither one of them has much impact on the game in the long-run since the bonuses for legacies are relatively small, compared to what magic items and feats can give players and IMEs are only visual effect (which only help or hinder in very specific situations). They just encourage my players to try to play their character more consistently and to stick to their role-playing when they might otherwise abandon it in favor of being more effective in a given situation. This is my favorite type of homebrew. Adding major rule changes or entire classes is hard to balance. If you ever want to see some ridiculous, over-powered stuff that puts the Tome of Battle to shame, you should check out some of the custom classes people have made and posted to places like the D&D Wiki.

Like a lot of storytelling, deciding how and when to modify the rules for an established game takes a lot of practice and it is easy to accidentally break something even if you’re very careful.  If you keep to a guiding principle such as “everyone should be having fun,” then you should be fine. The rules don’t really matter if everyone is having a good time and feeling like they have power in the world.

Song in the Silence: A Loud Endorsement

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“Song in the Silence” is the debut novel of Elizabeth Kerner, published in 1997, and the first novel in what eventually became a trilogy. There is a wonderful story captured in the pages, just waiting to be explored once you’ve managed to make your way past the stereotypically nineties cover art. I don’t know if I can say it was a unique story because my knowledge of female writers of fantasy from the nineties is sorely lacking (something I’m trying to change), but I can definitely say it had a much different tone from most other fantasy novels I’d read.

While the world doesn’t have the same kind of almost-human characterization some other fantasy novels go for, it still conveys a sense of breadth and depth to the readers. The bits of historical information Kerner provides to make the world feel real are worked into the flow of the story and they never feel like exposition or an information dump aside from one or two moments where a major historical event is shared with the protagonist so she understands the enormity of what’s going on. Even those moments feel a lot more natural than they otherwise might because they’re almost always delivered in the form of smaller stories told by one character to another. Though only a small portion of the world is shown through the course of the story, the introductory narration and the traveling the protagonist does firmly establishes a much larger world that you can feel hovering around the edges of the story as you read through it.

The mythology, which sets the stage for the main conflict of the novel and of the trilogy, is not entirely new though Kerner does a great job of breathing new life into it. The mythology plays into the trope of Dragons as beings of order and demons as beings of chaos, informing the ways the two groups interact with not only each other, but with the neutral humans who can, of course, pick either chaos or order. Which, in this story, means that humans can be good or evil, relying heavily on the cliché of order being good and chaos being evil. There is no way to avoid clichés entirely, nor is it necessary to do so, but this particular one has always felt like too much of an oversimplification to me. That being said,  I would call this particular cliche more of a pet-peeve than an actual issue in this case. Kerner’s story may lean heavily on the “human ability to be good or evil” idea, but the idea is used as less of a crutch and as more of a support beam. It is incorporated into the story as an important aspect of the story itself rather than used to prop up a weak philosophical concept a character is espousing. It turns from “chaos is evil and order is good” into “this person is evil and uses the power of chaos to act against order and good separately, in pursuit of their selfish goals.”

One of my favorite parts of the book is that every character in the novel could be you, your friends, or someone you’d meet at work. Unlike most fantasy characters, who I would not want to meet because they’d be insufferable, I would actually love to hang out with the people from this book. Maybe get a drink or a late brunch. They all have their flaws and they all tend to keep running into trouble as a result of them, but never in the same way. Some characters learn of others’ flaws and exploit them, young people are inexperienced and rather stupid, and the powerful are somewhat impulsive as a result of overconfidence. The protagonist, a young woman, falls into a few traps over the course of the novel because she is naive. She struggles with how to relate to some of the other characters because she learns of these huge gaps between her experience and theirs. The villain almost cackles over a steaming cauldron, but it is strongly implied that he’s gone insane at that point, as a result of all of the demon magic he uses. It feels a lot more natural because you can also imagine him cackling over a bowl of oatmeal or as he goes for a pleasant afternoon hike.

In direct opposition to the humanity of the characters (including the non-human ones), there was a rather heavy-handed romance subplot in this book. The protagonist and her love interest wind up in a relationship and loving each other not because they’ve gotten to know each other well and developed a relationship, but because they lay eyes on each other and begin to fall in love. There are prophecies mentioned here and there, as a part of the prophecies driving the major plot points of the trilogy, that make it seem like they were destined to love each other. After they’ve confessed their love for each other and had a soul-bonding moment, the relationship gets significantly more normal if you pretend they actually took their time getting to that point. I like the later depictions of the romance and their relationship better because it more closely matches the more human way most relationships in our world work.

I would recommend reading “Song in the Silence” if you want a book with interesting and real characters, a well-developed world that fits nicely into the “high fantasy” genre, an entire race of intelligent and rather “human” dragons, and don’t mind one of the major plot points being a Disney princess style romance that feels a bit shoehorned into the rest of the story. It is a rather quick read, though I recommend taking the time to pace yourself rather than attempting to devour it in one day. Though quick, it is still a bit too meaty for a single sitting.

 

Tabletop Highlight: D&D 3.5 and Knights

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One of my favorite classes to play in Dungeons and Dragons is the 3.5 edition’s Knight. This class is listed in the Player’s Handbook II and is probably the best class to use for the “Tank” role based on class abilities alone. Almost all of their abilities are geared toward grabbing enemy focus, surviving, or protecting their comrades. All of this comes at the cost of a lot of more the damage-oriented abilities or skills you might associate with fighter or barbarian tank builds. So often, a front-line tank fighter or barbarian’s skill set is focused around the idea of “if it is dead, it can’t hurt me or anyone else.” Yes, you can build a fighter’s AC (Armor Class: it determines how difficult it is to hurt you character with an attack) super high while still focusing on damage and you can get a Barbarian enough HP to tank a few disintegrate spells (which are as dangerous as the name implies) without healing, but Knights are focused on both of those things.

As one of the few classes with a d12 hit die (the die used to determine how many hit points the character gains each level), they can have almost as much HP as a barbarian before they start raging. Since their primary focus is staying alive and taking damage so other characters do not, putting the highest attribute score in Constitution is almost a requirement. The second-highest attribute score can work as well, but raising it with magic items as soon as possible is a must because a Knight can never have too many hit points. The alternative attribute for the highest attribute score is actually charisma. A lot of a Knight’s abilities are based on Charisma. Charisma can help a Knight challenge the boss to fight them and only them, grant them and their allies bonuses based on the Knight’s inspirational battle cries, and can help Knights come up with clever challenges to cause all enemies to charge them. Outside of battle, a Knight’s charisma can help them move through the social circles graced by royalty and nobility as they further their knightly cause.

As they progress through their levels, Knights enjoy a full Base Attack Bonus progression (one point per level) but, oddly, have only Will as a primary save. If you look through their abilities, you will find that Knights have abilities that can help them save allies who are being mind-controlled or mind-affected (made afraid, under the power of suggestion, etc), so having a high Will save means they are more likely to remain free long enough to save their companions. Other interesting abilities include being able to prevent enemies from easily moving past you (or using the common rogue trick of tumbling past the tank in order to attack the squishier characters behind them) by causing the space around them to be treated as rough terrain. This means that people cannot simply run past them or tumble past them thanks to the knight’s defensive capabilities. Other abilities include a boost to their AC as a result of using a shield and the ability to take part (and eventually all) of the damage dealt to an adjacent ally. If you’re protecting a spellcaster who gets shot by an arrow or stabbed by a rogue, you can opt to take some of that damage in order to mitigate what might have otherwise been a killing blow.

As far as combat goes, Knights get access to mounted combat feats, along with a lot of technical combat feats through a “bonus” feat system ever few levels. While a Knight may never do a lot of damage, compared to other martial classes, they can still dominate a battlefield riding about on a well-trained mount using a Lance in order to maximize their damage. They also have an ability called “Fighting Challenge” that gives them bonuses against a specific target they’ve challenged to a fight. The Fighting Challenge is a type of “Knight’s Challenge” which also includes things like the “Test of Mettle” which causes all enemies in earshot to focus on attacking you, the “Daunting Challenge” which causes weak enemies to flee in terror, and the “Bond of Loyalty” which allows a Knight to continue making will saves against mind-affecting spells or abilities until the Knight is free or out of Knight’s Challenges.

The most interesting use of the Knight’s Challenge, and what makes them the ultimate tank, is what they earn at 20th level: “Loyalty Beyond Death.” This allows a Knight to spend uses of their Knight’s Challenge to literally continue moving after they’ve functionally died. At 20th level, a Knight will have over 200 hit points. A character typically dies once they pass -10 hit points. A 20th level Knight can spend uses of their Knight’s Challenge to continue moving and acting once their hit points pass below 0 until their body is completely destroyed or they run out of Knight’s Challenges to use. This means they can still be healed back to the point of being alive or just sacrifice their live in one last glorious charge as they face down an ancient, all-powerful dragon or lich in order to buy a village or their allies time to flee.

There any number of other feats that can greatly benefit a Knight as well. Shieldmate lets you provide adjacent allies with an AC bonus based on the shield you use. Heavy Armor Specialization, a feat with dovetails in with a Knight’s ability to ignore movement penalties resulting from wearing Heavy armor, provides you with a permanent reduction to the damage you take as a result of wearing Heavy armor. The proficiency feat for Tower Shields also benefits a Knight because it increases the bonus provided by Shieldmate, increases your AC even more, and lets a Knight use their shield as protection from arrows or AoE (Area of Effect) attacks for anyone who isn’t tough enough to survive them. There is even a feat or a type of enhancement magic for armor and shields that lets your AC bonus from your armor and shield apply against certain magical attacks that normally just need to make contact with a character, rather than break through their armor. With the right builds, a Knight can because an almost unstoppable tanking machine.

I wouldn’t recommend using a Knight as the primary front-line combatant because their damage output is lower than most other martial characters, so they’re not always great picks for 4-person groups, but they work amazingly in larger groups, even if there are no other front-line martial characters. Especially if there are no other front-line martial characters. Next time you need a tank and don’t want to play the lawful good paladin, play a night! They can be lawful anything and their emphasis is more on their knightly oaths than obeying the rules of the land.

NaNoWriMo Day 28 (11/28)

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I’m a little ahead of schedule so far. I had to write 2500 words last night in order to finish on time, but I wrote 3200. That isn’t very far ahead of schedule, but doing it twice more means I only need to write 400 words on Thursday to finish. Which means I’d be able to start my recovery period and early nights on Thursday instead of Friday. I’m all for that, so we’ll see how it goes. Maybe I can do even more writing tonight so that I can just take Thursday entirely off. Nothing wrong with Finishing early, you know?

I also noticed that the “schedule your post” functionality of WordPress isn’t very precise. I had yesterday’s post all set to go up at 9 am, since I was going to be at work, and it didn’t actually post until I’d pulled up my website and logged in (of course it posted immediately when I logged in). I’m thinking I might be able to schedule the post, but I’ll need to actually still check every day if only make sure WordPress is doing what I told it to. It feels rather silly to have a schedule function that doesn’t really work, though. Maybe I should write up a bug report and submit it to the WordPress team. I do it for Google and video games all the time now, since I’ve become a professional software tester and all.

I haven’t gotten any comments on my post asking for suggestions of what to do with my blog after this month has ended, but I’m think it’ll probably be something a little more focused on creativity since my last blog before this one had focused on that and did much better in terms of views and followers even after I’d stopped updating it. The exact schedule it yet to be determined, but I’m pretty sure my first days of recovery are going to be spent creating a buffer of scheduled posts for me to fall back on while the actual recovery is happening this coming weekend.

A year of daily posts seems like a tall-order, but I’d have said the same thing before I decided to update this blog daily, so I suspect it’ll be a bit more achievable than I think it is right now. I might need to get an editor, though, since I’m clearly not that great at editing all of my posts before they go up. I’ve re-read some of the earlier ones and been horrified by the things I’ve missed.

I actually spent some time tonight playing one of my current favorite video games, Overwatch. I tend to prefer playing Tanks and Supports since I prefer the more strategic style of playing the game and playing a good tank is all about timing, situational awareness, and knowing where the tipping points are. Feeling the pressure building means you can anticipate when to drop your defense and attack with your DPS, while feeling it fall means you can be ready to cover the retreat of your supports and DPS when you need to get to a more defensible position or risk being torn apart. Those are my particular skills. I’m not great at soloing or flanking, but I am one of the best tanks I’ve played with at seeing the tipping points and being ready to take advantage of them. My main problem is that most of the people I play with online don’t even know that these tipping points happen, much less how to actually group around a tank. Tonight, though, I got to play with my friends and I cleaned house. It was wonderful. I’ll look into uploading some of the videos in the future, since I feel like they’re classic examples of the tipping points I’m talking about.

Hey! Talking about video games like that would make an excellent weekly feature! This content practically writes itself.

 

Daily Prompt

For those of us who spend a lot of time working on projects or doing things we’re not particularly good at, failure becomes a familiar face. One of the most important aspects of learning to create or improve is to accept that failure is going to be much more common than success, no matter how long you’ve been doing it or how good you get. If you aren’t risking failure, then you likely don’t have much to gain from what you’re doing. For today’s prompt, write a scene in which your character comes face to face with repeated failure as they try to learn something new or create something.  Show how your character responds to this failure and what happens as a result of them recognizing it.

 

Sharing Inspiration

Sometimes, you stumble across something that can only be a labor of love. Someone, at some point, wanted something and then took an incredibly long stretch of time to create something that perfectly fulfilled it before putting it up on the internet for everyone to see. One of my favorite examples is this list of 1000 totally random magical effects. I found it when working with a D&D player on a character concept that revolved around them causing random magical effects whenever they were frightened. I found a way to simulate rolling a d1000 and then would take whatever magical effect I got on the table. Examples include her character and the source of her fright had to pay 20% of their character’s total worth in the form of taxes. Another one was that the nearest tree (or, in this case, the mast of their airship) turned into a fully decorate Christmas tree complete with presents for everyone around underneath it. She also grew wings once. That was fun. This sort of dedication to an idea is something that always inspires me to keep working on my own crazy ideas and stories because someday, someone I don’t expect at all will find them and appreciate them.

 

Helpful Tips

Like I wrote in the prompt, failure is something you’re going to encounter a lot if you take any risks and trying to create something without taking any risks is not really worth doing. One of the books I’ve been reading for work, as my boss tries to encourage a creative and adventurous atmosphere in our R&D department, suggests that failing early and failing often is the best way to approach any task. If you spend all of your time planning, you’re still going to come up with one or more failures later in the process but you’ll have less time to correct those failures than if you’d just dived right in and started failing immediately.

Writing and NaNoWriMo are hard. I’ve failed NaNoWriMo twice. The first time, I failed so hard I didn’t even sign up to participate. I tried to pretend I didn’t need the accountability and that I’d be able to succeed on my own because I wanted to be able to hide any failure. Last year, I failed because I wasn’t willing to put the energy I had into writing every day or writing enough on my weekends to make up for not writing every day. Sure, I had my reasons, but there will always be reasons to not do something. Better to try and fail rather than not try and fail anyway. You always get something out of it when you try, even if you still wind up having failed just as much as if you hadn’t done anything.

Even if you know you won’t finish in time, don’t give up. Keep trying. Make your failure the best failure you can because the lessons you take out of this, the writing you’ve done when it is over, that will all still be there whether you succeed or fail. Every attempt is a learning experience and the ones that teach us the most are almost always the failures.

NaNoWriMo Day 20 (11/20)

Chris 2 Comments

Well, I certainly got a lot written last night. I wrote a little over a thousand words during the day leading up to Dungeons and Dragons (most of it happening right as D&D approached) but then blasted through almost three thousand in the hour and a half I wrote between the end of D&D and midnight. I was on fire. I had a few places I struggled to figure out what happened next, but I think those transitions from scene to scene will smooth out during editing. At this point, while I’m still behind, I’m a lot less behind than I was yesterday since I essentially made up for a day I skipped in the past and then a little more. I still have a long way to go, of course, but a good deal less than Friday.

I really hope I can keep this up. It’d be really nice if this was me finally getting back into the flow of writing now that I’ve been working at it every day for almost three weeks. That feels like a long time to be getting back into something, but good habits take a while to form, right? Maybe my persistence is finally paying off! Or maybe its all the caffeine I had today finally making itself useful for something other than allowing me to ignore how sleepy I feel. That’d be nice.

I’ve got a bit of a difficult week coming up here. First off, I’m super excited for my players to progress in the dungeon I created because plot, monsters, and lore are all in there somewhere and I really enjoy bringing all three of those things to my D&D sessions. Secondly, I’m going to try to see the Justice League movie with my roommates and I’m not entirely sure its even worth seeing on a $5 Tuesday at the local Marcus Theater. Especially since that’ll be time I can’t spend writing. I’ve also got to go pick up a key from my friend so I can check in on her cat while she’s out-of-town, figure out if my girlfriend and I will have time to see each other again before Thanksgiving, and then decide if I’m going to drive down to Chicago Thursday morning or Wednesday night. I’m leaning toward Thursday right now because I probably won’t do any writing Wednesday night if I drive down before writing. If I wait until Thursday, then I’ll only have to struggle through one night of writing (Thursday) since I’ll be home sometime Friday evening.

Then it’s the weekend again and who knows what interesting things will be happening then. Probably lots of them. I’ve had quite a few interesting weekends lately. Somewhat less productive, but definitely interesting. I’m more confident than ever that I’ll be able to catch up, though, so I’m alright with that.

Also, forget a new keyboard, I need a new computer chair. Mine has awkwardly placed armrests that cause me to hunch my shoulders and is constantly dropping downward, like some ghost was pulling the height-adjustment lever on me. Good job, ghost. Great joke. I’m now awkwardly sitting with my knees way up and the edge of my desk cutting into my wrists. Super cool.

 

Daily Prompt

Sometimes, the things we take the most pride in are small things, little victories that are meaningless to everyone else but prove to us the extent of some small ability we recognize within ourselves. They’re the kind of things that make your friends smile indulgently as you give them the play-by-play action report on something as small or seemingly insignificant as finding a way to get some extra burn time out of a candle or accurately predicting your arrival time. Today, show your character experiencing this kind of pride and the way that the people around them react in response to your character’s seemingly insignificant accomplishment.

 

Sharing Inspiration

Today’s inspiration is one of my favorite modern poets, Shel Silverstein. Almost all of his pictures make him look grumpy or kind of scary, but he wrote some wonderful children’s poetry that is not only fanciful, full of delightful imagery and actual images–he was also a cartoonist–but is also incredibly clever and more nuanced than a lot of other modern poetry I’ve read. There are layers upon layers to what he writes, shadows of bigger meanings that never fully materialize, and little hints of some deep meaning hidden behind the bright images and neatly composed words. He’s the kind of poet most people will either love or hate depending on what you take away from his poems. If you want to enjoy some particularly arranged words that often feel light and fluffy until you really think about them, I highly recommend starting with his book (my favorite) Where the Sidewalk Ends.

 

Helpful Tips

While it can be super scary, it is super helpful to get an outside perspective on your writing. If you have a friend who is willing and has the time to keep up, having an alpha reader (or several) can help you figure out the direction of your story and maybe come up with some new scenes to better develop your characters. Sure, you can get a lot of this just by talking to someone about your story, but it is a lot easier for them to provide feedback and a lot easier for you to explain what’s going on or what you’re looking for if they’ve already read everything you’ve written.

Outside of National Novel Writing Month, I would almost say its a requirement of anyone who wants to write something that people will enjoy reading. I’ve tried both methods: writing entirely in a void and writing with regular feedback or someone you can question about particular scenes you’ve written. Writing in a void was super productive. I wrote more and faster than I’d ever done in a similar amount of time. However, it was very clear that the quality of the writing was much lower and I eventually learned that I’d made a choice early on that made it difficult for some people to actually enjoy the story. With regular feedback, it takes more time to write the same amount and it can be hard to wrangle my alpha readers sometimes,  but the quality is drastically higher and it is easier for me to experiment when I’m getting more immediate feedback.

I can’t honestly say this will be true for anyone, but I do know that most of the people I’ve worked with have been way more productive when they have a supportive environment, regular feedback, and people who express a genuine interest in what they’re creating. It sure feels nice when people care, doesn’t it?

NaNoWriMo Day 13 (11/13)

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Well, I didn’t do much writing yesterday again. I’m seriously starting to wonder if I’ve doomed myself since I can’t seem to make myself actually prioritize my writing. At the same time, I did some wonderful prep for my D&D campaign that lays the groundwork for many sessions to come along with figuring out some of the murky details for the plot arc my players are pursuing. I also fleshed out the DMPC I’ve created to round out the party (weekly attendance is at three right now, so I’m just adding a safety on top of adjusting their encounters) and created a few instant encounters for the environments they’ll be heading through. I should be good on prep for the next half-dozen sessions if we stick to 3-4 hour sessions (instead of the 5+ hour sessions we’ve been doing lately).

I really enjoyed the session, even if it dragged on longer than expected. It gave me the opportunity to insert a random new element to the world and challenged me to come up with something effectively homebrew (rules for an entire new creature type along with the source of said creatures) on the fly. One of my players did the unthinkable and rolled three 1’s in a row on an attack roll, so I gave him the option of accepting the instant accidental death (house rule on three 1s in a row on an attack roll) or taking an unknown other result that could be worse than death but would give him the opportunity to possibly avert the problem. I decided that the sword he used, a longsword with the “vicious” trait (it does damage to him every time he hits something with it but deals extra damage to what he’s hitting), animated and started using vampiric style attacks to suck out the life force of whatever living creatures were near it.

Thankfully, they managed to kill the no-longer sword-shaped aberration (it looked like a 15 foot long caterpillar made of metal) and thus the whole crisis has been averted (for now). However, the addition of this powerful creature to what was already a tough fight (12 zombies and a mummy for a level six party) wound up dragging the session out so that, as 11pm passed and 12am approached, they finally wrapped things up and returned to their basecamp outside the dungeon to recover from their drained life force and wounds. And they leveled up!

This is why I love Dungeons and Dragons. As a DM, it can force me to be creative at a moment’s notice, encourages player participation in story-telling, and a good player will always take the unknown but interesting if they have a choice. I get to incorporate things from other stories I loved (the no-longer-sword-shaped aberration was an idea i got from a comic I love) and I get to see the reactions to my story-telling as it happens. The suspense and wonder, the dread and weary joy, the fear and bravery. I have, and probably will again, write entire posts about why I love Dungeons and Dragons. There’s just so much there to enjoy if you’ve got a good set of players and a good Dungeon Master.

Even if I don’t finish my NaNoWriMo writing goal this month, I’ll still have written more this month than in the past several thanks to my daily blog updates. I’ll have done story-telling I enjoyed every week. I’ll have fully committed myself to creating once again. I still plan to try and I’m confident in my ability to pull the necessary words out of my ass over my holiday next week if it comes down to that, but I think I can already count this month as a win no matter what else happens.

 

Daily Prompt

As a human, we can be wildly emotional. All you have to do is turn on daytime TV to see stories and reality shows of people doing incredibly irrational things as a result of entirely emotional decision-making. People who struggle with mental health issues often have first-hand experience in how emotions can entirely overrule reason and common sense.  Even if your character isn’t strictly human or not even sorta human, the emotional side of every race/species depicted in story-telling tends to overrule the intellectual side. Write a scene in which your character’s emotional response to an event overrules their common sense or intellectual side so that they wind up acting when they probably shouldn’t. It can be anything from them leaping into action to protect someone, entirely blowing their cover, to them being unable to hold their tongue when they are being chewed out by someone.

 

Sharing Inspiration

One of my favorite musicians, who I listen to for just about every reason in the world (though the most common are because I need to de-stress and chill out or because I need something to make me contemplative but still action-oriented), is Andrew Bird. The absolutely breadth of genres he’s played over the years is surprising and his evolution as an artist is inspiring. He mixes wonderfully calm and meandering music with vocals that match the music but will make you think once you start to hear them past their part in the musicality of the song. He plays the violin, sings wonderfully, whistles, and plays the guitar, often using electronic delay and repeat recorders (they record what he plays when he holds down a pedal and then loop it back until he stops it again) to combine all four of those things at once during live performances. He’s a wonderful showman and an amazing musician. My biggest critique of him is that he can be hard to understand sometimes, when he’s singing, because he tends to blend the vocals with the instrumentals so much. If you need a little push, I recommend looking up his music (live recordings, if you can find them) starting with my favorite song, Take Courage.

 

Helpful Tips

If you’re struggling to get your writing done because you can’t focus when you sit down with a couple of hours to work, try breaking your time up into 5-15 minute chunks (10 is usually a good number). Set a timer to go off in ten minutes and challenge yourself to write as much as you can before the timer goes off. Once the timer goes off, record your results, take a short break to get a drink or check twitter (no more than a minute or two, timer-enforced if need be), and then start another. This time, challenge yourself to beat your previous record by as much as possible. Keep repeating this process until your reach or surpass your daily goal. These little sprints will help keep you focused and productive, giving you the bursts of creativity we’ve all felt where we write a couple (or a few) hundred words in only a handful of minutes because we’re very aware of how much time we’ve wasted. This way, though, you get the benefit without feeling like you’ve been failing.

 

NaNoWriMo Day 8 (11/08)

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I’ve got this song stuck in my head, “Older” by They Might Be Giants. Except, instead of the lyrics going “You’re older than you’ve ever been and now you’re even older,” they’re going “You’re further than you’ve ever been and now you’re even further.” I didn’t write much again. D&D ran a little late and things were going so well I was unwilling to end things early. 6:30 to 11 isn’t super late, but it’s definitely later than we’ve played most days. Usually we’d play from about 6:30 or 7 until 9 or 9:30. The longer sessions are definitely nicer as a the DM, but they’re also harder to incorporate into what is a rather busy month for me…

I shouldn’t be complaining. I had a lot of fun, my players had a lot of fun, and one of the characters almost died because he got kissed by a demon (not the first time it has happened to him). I’d like to spill some more details about what they’ve been doing compared to what I’ve been planning, but all my players could theoretically read this blog post and I don’t want to tempt them with meta-gaming knowledge.

Tomorrow night, after my bills are paid, checks deposited, and laundry is folded, I will sit down and write until at least midnight. I should be able to pick up some decent progress there. I will also attempt to do the same thing Thursday night and Friday night. If I can do that, I might be able to recover my numbers to the point where I’m no longer floating around the 50% mark (pretty sure I’m below even that right now…).

I know I can do this. I wonder if that knowledge is making me over-confident? I suppose we’ll see.

 

Daily Prompt

Every character has strengths and some of them are even fully aware of these strengths. Today, write a scene in which a character not only knows and relies on their strengths, but also gets over-confident and fails because they took their ability for granted. Show them failing when they should have succeeded, not because the task was simple but because they approached it without due care.

 

Sharing Inspiration

If you’re having a hard time coming up with interesting characters, one of the best places to find inspiration (and make sure it stays only at inspiration) is on forums of table top RPGs. My personal favorite, for use as both a DM and a writer, is ENworld.org.  There are just so many wonderful resources for world building and so many well-crafted NPCs and characters lying around that it is almost impossible to browse the forums without being inspired to take your character creation to the next level.

 

Helpful Tips

 

One of the keys to “originality” is to take stuff that already exists and combine it in new and interesting ways. Find five characters you like and mash them all together, trimming off the extra bits and filling in the gaps until you have one fully solid and new character. You can even do this with plots, cultures, and even entire worlds. Mix and match until you’ve got something wonderful and new. There’s nothing wrong with taking notes from existing works or creators, just make sure that all you’re taking is notes and not entire characters or places.

Dungeons and Dragons: What’s the Story?

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As you might be able to infer from other parts of my blog (or perhaps just remember from a previous post), my favorite part of playing Dungeons and Dragons is the storytelling. DMs developing worlds and spooling out stories in every direction. Players and their characters taking the reins of the DMs stories and telling smaller ones through the way their characters develop. The stories we see at the end of a campaign as we look back and admire all we’ve done since we started. I love them all.

The stories I prefer most are the ones I can tell as a DM. Unfortunately, telling a story as a DM can be a bit of tricky business. If the DM is too forceful in their storytelling, the players can wind up feeling railroaded–which means that they feel like their characters have been placed on a track and they have no options or choices that really make a difference. Sometimes, with certain players, a bit of railroading is necessary if you want them to actually be doing anything. Sometimes, the players don’t mind a little firm direction, if you’ve set it up correctly. If a DM tells the story right, it’s possible the players won’t even notice that it’s happening.

Different DMs come at storytelling from different angles, but most fall into one of a few categories. There’s the adversarial DM, who is trying their best to kill the players’ characters and the players need to use all their wiles and skills to escape the DM’s traps and narrative sticky spots. There’s the supportive DM who just wants to ensure their players are having fun, bending the rules so they don’t get in the way of the players reaching their goals. Finally, there’s the DM who just lets the dice decide, setting up situations that they players can get through with luck and/or skill but could still include lethal consequences if they’re foolish or really unlucky. Personally, I tend to flip-flop between the last two categories.

I like the supportive style for fun-oriented campaigns. It is generally more fun if the players are successful (and death isn’t NEARLY as funny as some kind of persistent negative consequence), and I’m not one to let a mere rule get in the way of a good joke. Plus, one of the keys to good humor is subversion of the expected. If a player opens a chest expecting a monster, trap, or treasure, one of the best things to put inside it is a series of slightly smaller chests. Top the whole thing off with a “goblin punch” aimed at someone’s vulnerables and you’ve got yourself a hilarious setup for humor.

For my more narrative campaigns, I prefer the “let the dice decide” style. The best way to involve the players, to get them to suspend their disbelief and emotionally invest in the campaign, is to make them feel like their actions matter, like their decisions have consequences. You have to balance risk and reward so that they have the opportunity to fail and succeed on a smaller scale on a regular basis, so they never develop a god complex. Then mix in opportunities for them to fail or succeed beyond the scope of the situation and you can really hook them. Reward them when they’re clever and punish them when they’re making poor decisions. The exact nuances of how to do exactly that are a blog post of their own.

Situational railroading has a place in the narrative campaigns. Sometimes, because of the past choices a player has made, the entire party winds up in a situation they can’t escape from. Sometimes you need to move them from one city to another, so you “railroad” them by provide a reason they would NEED to move. On the flip side, that level of guidance can absolutely kill the fun in a more relaxed campaign. The whole point of the relaxed style is to let the humor and feel of the room guide your choices as a DM, so you can keep people laughing and the funny moments rolling out. Dictating anything at that point can sour someone’s fun.

So far, in my narrative campaign, I’d like to think I’ve only engaged in the permissible kind of railroading. The only time I think that it could have been a little too heavy-handed was in order to help my players remake their characters. One wanted to change pretty much everything and another needed a way to be introduced to a prestige class, along with make a few changes to the way his current class worked. So I laid out the path for them, knowing they’d take the bait, and then forced them to keeping walking down it.

In my opinion, the key to building ANY kind of narrative structure in a D&D campaign (and this includes permissible railroading), is to make sure the players never feel like their choices don’t matter or that they don’t have any choices. They should always have the option to just turn around and walk away. They should always be able to make decisions about how their character acts in a situation or how their character plays it all out, even if they don’t have a choice about what that situation is. In short, never take away ALL of their agency. Unless they’re being mind-controlled. That’s a whole different story, though.

I’m writing all of this up as I’m preparing for a D&D session with my narrative campaign. I hope none of them see this and read too deeply into it. Today, I just want to gather my friends around a table and help them tell the story we’ve been working on for almost a year and a half. No railroading, no narrative traps, just a lot of fun with my friends.

What Does “D&D” Mean?

Chris 3 Comments

I’ve been playing D&D for going on 7 years now. That’s not a long time by any means, since I only started playing in college, but it has been a pretty significant part of my life ever since then. I had a really good DM the first time I really played (a campaign) and a really bad DM the second time I played. The third time I played, I was the DM.

As any DM will tell you, the first time you run a campaign is always rough. I’ll definitely admit that a lot of the issues weren’t a result of an inability on my part, but more a result of the social dynamics that grew up over the year and a half that I ran my first campaign. Things started well enough, everyone had a good time, and I had a pleasant world for the characters to explore. By the end, I was making dumb stuff up just to fill the next session, my players resented what I had built for them, and some of the players tried to stage an intervention.

While all that was going on in our sessions, the group of players (who had become my only friend group over the past year due to most of my other friends either leaving the college or picking sides in an argument in our fraternity that I refused to get involved in) stopped spending time with me, my best friend tried to get my girlfriend to break up with me and date him instead, and all of my friends (how they all found out, I’ll never know) decided that it would be best to keep all of this from me. I suppose you could see why I might not be super motivated to make their D&D experience an enjoyable one.

After that, I didn’t do much large-scale DMing for almost a year. I ran a few sessions here and there, did a couple one shots, had small-scale campaigns to test worlds I had built, and was unable to find D&D to play anywhere else. After a year and a bit had passed, and I had gotten some closure on what had happened with the players in my last major campaign, I started a new one. I built this elaborate, ridiculous world that broke most of the rules players take for granted and was entirely geared around the idea of just having fun.

After that, I generally tried to keep my campaigns on the sillier side. I’m really good at keeping people laughing, at fostering a relaxed, fun atmosphere, and coming up with the best jokes and situations for the people currently playing in my campaign (there was no set cast since each session was its own full adventure) was fairly simple. I will admit that I stayed away from the more serious and story-oriented campaigns because of how horribly things went the last time I’d done one. I didn’t think I could stand being rejected and hurt like that again.

I really like to make people laugh. I enjoy story-telling more than almost anything. I enjoy creating these worlds for people to explore and helping them to reach their utmost potential. I love being a dungeon master. Even with all that, there was always something missing for me when I ran one of my silly campaigns. I never enjoyed it as much as I knew I could. In early 2016, I realized it was because I was telling stories without nuance, stories without a life of their own that took place in a two-dimensional world. Yes, they could be fun, but I knew there’s so much more that I could be doing.

Early last spring, I started a new campaign with my roommate and three of our closest friends. A small party with a tight focus on what was going on in the world. I painted broad swathes of the world in simple colors and then filled in the narrow sections they occupied with extraordinary detail, giving them the feeling of really living in the world. I provided them with an array of tools and sub-plots that they could pick and choose from, figuring out how to use each tool to fit their situation and finding their way down what seemed the random disparate paths of their plots only to find them all tied together neatly at the end of the first story arc. We brought in a fifth player to fill some of the gaps, another close friend, and I was able to add even more to the world with what he brought to our sessions.

As we approach the one-year mark, I can happily say that we’ve avoided all the problems I ran into with my first major campaign five years ago. The whole group is getting along excellently, they’re all enjoying themselves, and they’re all clamoring for our next session. My social life has only improved since we started playing and I’ve now got an even larger group of people who want me to run for them. I’ve started exploring new ideas of what it means to run a D&D campaign and how players can experience a D&D campaign. I’ve got so many new ideas for how I could accommodate a group of over a dozen potential players that I am super excited to try out. I can’t wait to see what this year brings for me as a DM.

I don’t play D&D as much as I used to and I kind of regret that. I really enjoy being a player and I can never seem to get enough playing that I’m ready for a break, but being a DM is where my heart truly resides. DMing is my favorite way to experience D&D and to truly live out what I believe it means to play Dungeons and Dragons.

To me, D&D is a way to connect with people I would otherwise have a hard time connecting with. D&D is a way to practice my skills as a story-teller and get instant feedback. D&D is a way to create a space in which my friends can relax and enjoy themselves. D&D is fulfilling in a way that the job I’m leaving has never been. D&D helps me scratch the itch I feel, that drives me to write, in a way that recharges my writing energy. I may end each session feeling tired and worn out from putting all my energy into making my campaign fun and engaging, but I’m never more inspired to write or create as I am when I put away my dice and stick my books back on their shelf.