Emotional Investment At The Table

During the many hours that I spend thinking about my various Tabletop Roleplaying Games (can’t just say “Dungeons and Dragons games” anymore, since I’m finally running and playing other games), one of the things I think about the most is my players’ emotional investment in our shared stories. I do my best to give them stories and non-player characters to care about, but I can’t exactly force it. They’re only going to care if they find something they feel is worth caring about and then make the effort to care. I tend to focus on the story elements, since I’d prefer that they care about the game as a whole rather than individual NPCs or one-time encounters, but it is usually a lot easier to make them care about an NPC than the game itself.

Most of the time, you can make an NPC sympathetic, interesting, and a little bit quirky without too much of an issue. It is a roll of the dice (pun absolutely intended) as to whether or not the players will care about any given NPC, but the nice thing is that you can always toss one aside if your players are not interested and make a new one. In any given TTRPG, you’re probably going to run through multiple NPCs in any given hour of the game, or session at the very least. NPCs fill the world and the players will wind up picking whichever ones interest them and you can just expand from there. For instance, I had an NPC rogue in one of my games that was around mostly to serve a narrative purpose in the first session, assist with some skill checks if the party chose to go somewhere they would need a trapfinder or the like, and provide a safety release valve in combat scenarios that involved the entire caravan the party was traveling with. Eventually, they also wound up providing a second voice for the caravan itself and a source of supposed romantic tension as one of the players jokingly shipped them with another player’s character.

Eventually, they died. It was a rough fight, also claiming the life of one of the player characters as well, and I thought that would be the end of it. I’d come up with some other stuff to give the character more depth, but I’m not precious with my NPCs. They’re there to serve a purpose and are easy ways for me to introduce threat without it feeling like I just hit one of the heroes with a bus. Instead of a hero, I hit the sidekick. The players eventually insisted on bringing the NPC back to life and, since they were willing to go through the rigmarole involved, I wasn’t going to stop them. Then the NPC died in the next major encounter after that and the party once again tried to bring them back. This time, the ritual failed and the party swore to bring them back, no matter what it took. Now they’re investigating how to bring someone back after a ritual fails and I’ve given them a nice little high-level quest for a massive diamond formed in the heart of a mountain. Good times.

I couldn’t have predicted they’d get this invested in the character. I thought they’d wind up more interested in the revenant they fished out of a river or the caravan leader, who was just some dude, who was entrusted with secret documents to take from one country’s leadership to another’s that were apparently so valuable that the caravan was attacked by assassins. None of which caught their interest for very long. They loved the Revenant for a while, but there was no talk of trying to bring him back, or finding out what happened to him after they learned he was the result of an experiment to see if a necromancer could artificially induce a revenant that would hunt a killer who had not actually killed him and he turned into dust when the necromancer concluded his experiment by slaying the person binding the revenant to unlife. They just moved on from the caravan leader, even though he was a family friend/relative to one of the player characters and clearly up to some shit. I certainly wouldn’t have planned it that way, but you make stuff, let your players pick what they like, and then do your best to run with it.

As far as the story goes, all I can really do is try to make cool stuff. I have no idea if they’re actually super invested in what might happen or just enjoying themselves on a per-session basis, and I’m honestly not sure it super matters right now. As long as we’re all having fun, I’m happy with whatever we’re doing. I’d love to be able to figure out what kind of stories they’re willing to emotionally invest in, since I’d love to overwhelm a player with emotion (not, like, in a mean way, just in a “dang, that’s some good storytelling” kind of way). I think that if I making sure I’m investing in their stories, building things out for them, and checking in with them regularly, I’ll probably get there eventually. None of my games are meeting weekly right now, at least not ones I’m running, so it’s difficult to tell if people are super invested because it’s difficult to retain details across multiple weeks without a session. Everyone asks questions like someone who wasn’t paying attention and that’s just because it’s been so long. Even the most meticulous of notes can only remind us of the details of what happened. They can’t make us feel that way again, nor can they entirely re-immerse us in a story that’s been set aside for multiple weeks.

Like I said, as long as my players are enjoying themselves, I’m happy. I’m going to keep doing what I can to get them emotionally invested because I think that’s a good focus for me to have as a storyteller (specifically to give them things they’re interested in investing in rather than manipulating them into investing), but I’m not going to be upset if it doesn’t happen on my time scale. These things take time and we’ve all got plenty of it (you know, probably).

Making Interesting Characters for Tabletop Games

In the final entry of this week’s “Making Interesting Stuff for Tabletop Games” series, we’re going to talk through the process of what makes a character interesting. I’m going to continue to reference stuff from the past few posts, so read up about Interesting Worlds, Interesting Events, and What Makes Stuff Interesting if any part of today’s post is confusing (or, you know, if you’re interested in that stuff). If that’s too much for you to read, the main thing I’ll be referencing are the difference betweening knowing (being able to recite facts you have established) and understanding (being able to make decisions and answer questions for things you never anticipated). There’s a bunch of world building that I reference throughout the series, building further as I go through the posts, but most of it is fairly basic and shouldn’t be difficult to run with.

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Making Things Interesting for Tabletop Games

Today’s post is a bit more difficult. I know it might sound strange, given the general assertions of the last two posts, about creating interesting worlds and filling those worlds with interesting events (both of which are suggested reading for today’s post since I am using the same examples and techniques across all of them), but I can’t give you a sure-fire method of making something interesting. I do my best to make things interesting for my tabletop games, but I still fail with a frustrating degree of frequency. I’m good at pretending otherwise because I’m quick enough to cover for it by pivoting to what my players are indicating they’re actually interested in. There’s no real way to teach the ability to pivot on-the-fly other than experience and getting to know your audience, so all I can do is hope that the general rules and guiding principles I use for determining what is “interesting” will be enough to help you get started. Like most of the worldbuilding and GM prep I’ve talked about recently, if you keep your preparation focused on understanding things rather than knowing things, you can almost always find a place to recycle them if your original use doesn’t pan out.

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Filling Worlds With Interesting Events For Tabletop Games

Once you’ve created an interesting world for you tabletop game, the next step is to fill it with stuff that is either currently happening, about to happen, or has happened. You really only need one to have one built out, since the others tend to grow out of exploring one, but it doesn’t hurt to have a few different options of each kind so you can run the game your players are interested in playing. You could try to predict that ahead of time and build the precise number of interesting things you need in that direction to make the world feel lived-in, but it’s usually more fun if you have a bit of each. In my experience, it always feels rewarding when the players find ties to past events that get them excited to learn more about whatever situation they’re in, when players can tie current events to past events when they initially seemed unrelated, and everyone loves a bit of foreshadowing that pays out.

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Creating Interesting Worlds For Tabletop Games

Creating a setting for a tabletop roleplaying game is a lot of work. Regardless of whether it is supposed to be the backdrop for an entire campaign or a temporary location your players find themselves, it takes a lot of work to get it ready. I have had a lot of experience creating worlds, given that it was always my favorite part of writing stories and running D&D games, and I’ve learned a lot of lessons about how to do it effectively and quickly. Not every setting can be created quickly, of course, some things just take time to work out, but I have a few tips and principles I stick to that help me create something I can use without making it so rigid that there’s no room to improvise and adapt as your players (or characters, for written stories) explore.

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I Got To Play D&D In Person For The First Time In Over Two Years

Thanks to a friend coming into town for the first time in a few years, I was able to run my Sunday night Dungeons and Dragons game in-person for the first time. There is the unfortunate caveat that the game was 4/5ths in person, since one of the players was still remote, but that’s a setup I’ve dealt with many times in the past (it was the default for my pre-pandemic Sunday night game for pretty much the entire time I’ve had a Sunday night game). This time, though, the guy who was usually the remote player got to be there in-person! It was a fun change of pace, even if I had to basically dismantle my computer and office in order to get the whole setup working since most of my notes, resources, and tools are digital these days.

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Together, We All Grow As Storytellers

I’ve been running Dungeons and Dragons games for over a decade now. Twelve years, this summer. For the last six years, I’ve been running Sunday evening games for a group that has changed many times, with the exception of two players. These two people, friends I’ve known to some degree about as long as I’ve been running Dungeons and Dragons, have been an endless source of amusement and fun for me as a dungeon master. From tragic beginnings, moments of hilarity, grave failures, and a general willingness to go wherever I lead them, I don’t think I could ask for more from any players of mine.

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What Makes A Story A Gaming Campaign Or A Book

I wish I had the time and energy for more weekly Dungeons and Dragons games. Specifically, the time and energy to run them. At present, I’d like to get myself to one weekly game (that, you know, actually plays weekly) and two every-other-week games that alternate so I can run two games a week but have more time to prepare the two that alternate. If I didn’t have to spend time working a full-time job, I could probably run a game every day. Do prep in the morning, run in the afternoon, and have evenings to myself. I’ve thought about trying to get into the “Game Master as a day job” gig, but I’ve decided that for now, I want to keep this as just a hobby. Still, if I had more time and energy, I’d love to add another game or two into rotation.

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Potential Timeline Hijinks Aren’t a Risk, They’re an Opportunity

I’ve been recycling a Dungeons and Dragons campaign that, in its first run, dramatically changed during the time it was transitioning from the “early introduction to the mechanics, world, and general themes” phase to the “initial major plot threads and character story incorporation” phase. Because of some players withdrawing due to pandemic-related stress and removing a player due to violating table rules and interpersonal conflicts, the scope of the campaign had to be drastically reduced since two of the early-plot-essential player characters were no longer in the campaign. And while I could find a way to make it work without them, the players left weren’t as interested in continuing those story arcs the way they’d been going. So I made some major changes, moved their campaign around in time, and changed how a lot of the story was being told. As a result, I had an entire campaign’s worth of world prep, plot notes/ideas, and cool magic items just sitting around.

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All This To Say I Just Want To Talk About Stories

There is nothing I love more than talking about stories and storytelling with people. A mix of literary criticism, careful analysis, delighted comparison, and rampant speculation, nothing gets me as fired up, recharged, and happy as a long talk about beloved stories with someone who shares my enthusiasm. It is something that has been in short supply lately, given my isolation and what feels like the rising toxicity of the internet. Most of my friends who enjoy stories don’t really care for the level of analysis and discussion I would like, and the few places I have access to this online, there’s a degree of rabidity that makes me uncomfortable to engage with others past a surface level.

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