Playlist Spotlight: Pierre Lancaster

As a DM, one of my favorite things to do to help me work out NPCs and make them more fully-realized characters is to create a playlist for them. Several of my crucial NPCs in my world currently have a playlist. Today I’m going to talk about the playlist of an NPC named Pierre Lancaster. Pierre is one of the four generals and official trainers of the Tovellian army. He never knew his elven father but he loved his human mother dearly, though she passed away when he was sixteen. Ever since he has been a loyal member of the army. Throughout his military career, he has also fallen in love with a fellow soldier, which is against the rules, though the couple has struggled for other reasons in more recent years. His connections to Tovell and the army mean that his path has intersected with a few of the PCs before the campaign even started. Within the seven proper sessions that we have done, Pierre has not yet appeared, but because of the weight he holds within a few character’s backstories, he is what I would consider a key NPC.

Pierre’s playlist was the first NPC playlist I had ever created, and as such it feels a bit scattered. Most of the songs I chose have a lyrical importance rather than an aesthetic one as well. Many of the later playlists have a better style to them than this one. However, I am still proud of how this one turned out. For playlist posts, I am going to list the song and artist, as well as a few crucial lines, and explain a bit about why each was chosen and how it fits in to the backstory. (Want to listen along? Here!)

 

Song: Tear in my Heart

Artist: Twenty One Pilots

Sometimes you gotta bleed to know

That you’re alive and have a soul

But it takes someone to come around

To show you how

She’s the tear in my heart, I’m alive

She’s the tear in my heart, I’m on fire

She’s the tear in my heart

Take me higher

Than I’ve ever been

After Pierre’s mom died, Pierre was just kind of moving through military ranks, trying to do the best he could. When his lover came around, he finally had something to work towards. First it was someone to protect and train, then she became someone to love and to fight for. All Pierre needed was for someone to kick start his soul, and she was that person. Pierre is a broken piece of pottery, and she is the gold lacquer that repaired him

 

Song: I am Terrified

Artist: IAMX

You look good in leather, in bars
Breaking things, breaking hearts
You look good in pleasure, in hotels
Loneliness is the key to break that spell

I am terrified, I think too much
I get emotional when I drink too much
I buy every cry, ’cause I don’t trust
I am terrified, I think too much

This song is beautiful and depressing, a perfect snapshot of where Pierre has been for the past six years with his military career and his lovelife. Pierre is also a total light-weight, meaning he has spent more than a few nights in the bar wasted after only a drink or two.

 

Song: Pompeii

Artist: Bastille

And the walls kept tumbling down

In the city that we love

Gray clouds roll over the hills

Bringing darkness from above

But if you close your eyes,

Does it almost feel like

Nothing changed at all?

And if you close your eyes,

Does it almost feel like

You’ve been here before?

How am I gonna be an optimist about this?

A lot has happened in Goldcrest over the last few years. Despite his best efforts, this time has done little good for Pierre. The place that has been his home for nearly two decades now feels hallow, unwelcoming, and lonely. But if he concentrates, sometimes he can still smell her hair, imagine the leather of her armor, and feel the warmth of her hand in his.

 

Song: Dark Times

Artist: The Weeknd and Ed Sheeran

In my dark times I’ve still got some problems I know

Driving too fast but just moving too slow

And I’ve got something I’ve been trying to let go of

Pulling me back every time

In my dark time, taking it back to the street

Making those promises that I could not keep

In my dark time, baby this is all I could be

Only my mother could love me for me

This song perfectly encapsulates his mental state for the past few years. Pierre has never been one to not have spunk, but fights were never his thing. But some nights when the liquor flows too heavy and the pain runs too deep, all it takes is one wrong word to bring back those memories and Pierre simply breaks.

 

Song: One by One

Artist: One OK Rock

Kept down so long

Sick of living in the middle

If you stand for nothing

You’ll fall for anything

Our time is now

We won’t stand down

Wake up scream out

We are the chosen ones

Standing on the battleground

Standing on the front

Can’t see my way out

Standing on the pinnacle

Standing on the sun

Can’t see my way out

One by one we turn our hands to guns

One by one they fall down

Sometimes you have to fight for what you believe in, and Pierre knows which battles he would pick any day.

 

Song: Pardon Me

Artist: Incubus

So pardon me while I burst into flames

Pardon me while I burst into flames

I’ve had enough of the world and it’s people’s mindless games

So pardon me while I burn and rise above the flame

Pardon me, pardon me, I’ll never be the same

When his mother got sick, Pierre was angry at the world. A quiet and loving child, he couldn’t understand why his amazing mother was so sick, and he understood even less why no one could do anything about it. He began to question everything; his father, wherever he was, who had probably left the two of them to rot; the village elder, who said that the sickness was beyond his control to cure; the gods, for allowing this to happen. For a while, being in the army made sense, made Pierre feel as if he was doing something right. When he found out that his mother had died anyway, Pierre didn’t trust anyone for a long time.

 

Song: Help I’m Alive

Artist: Metric

Help I’m alive

My heart keeps beating like a hammer

Hard to be soft

Tough to be tender

Pierre has always been an incredibly kind and caring soul. But a bleeding heart doesn’t belong in the army.

 

Song: When the Day Met the Night

Artist: Panic! At the Disco

When the moon found the sun

He looked like he was barely hanging on

But her eyes saved his life

In the middle of summer

It’s hard to say where Pierre would be if his lover hadn’t come along. After his mother passed, Pierre didn’t really pray or believe in the gods, but having hr in his life felt like a godsend. Every night he would say a prayer to ask the gods to watch over the woman who he felt truly saved him.

 

Song: Peace of Mind

Artist: Boston

I understand about indecision

But I don’t care if I get behind

People livin’ in competition

All I want is to have my peace of mind

If Pierre could choose to be anywhere right now, he would be far away from Goldcrest-perhaps a farm or fishing boat, somewhere where he wouldn’t have to make a decision and be in charge. Pierre really isn’t cut out for army life, it’s just the hand he was dealt.

 

Song: Everybody Wants to Rule the World

Artist: Lorde*

It’s my own desire

It’s my own remorse

Help me to decide

Help me make the most of freedom and of pleasure

Nothing ever lasts forever

Everybody wants to rule the world

Politics are tough, and in Tovell only the strongest survive. Pierre has struggled to reconcile his need to be in his position with the values that his mother taught him. Being an army trainer has its perks, but sometimes it’s simply not worth it.

*I also chose this version over the Tears for Fears version because even though I like that version better, I feel that this version does a better job of signaling the dread that Pierre feels about his current situation.

 

I think that each of these songs does a pretty decent job of explaining who he is, where he comes from, and what he’s feeling right now. The original playlist was 16 songs, but it’s cut down to 10 here for clarity and because some of the other songs were only tangentially related. Please let me know if you like seeing more of these posts! I enjoy doing them and I will probably do more when my school and work schedule gets a bit crazy again.


Questions, comments, or concerns? Leave me a comment or find me on Twitter @DandDDM.

How to not be *That* DM

If you, like me, enjoy consuming D&D-based media content because it is enjoyable and helps you improve your own game, you’ve probably watched Critical Role at some point. And if you’re really into Critical Role, that probably means you’ve seen a panel or two from the cast at a con. One of the most common questions that Critical Role’s esteemed Dungeon Master Matt Mercer seems to get is “Why/how did you start DMing?” This is a fascinating question to ask DMs, for there are as many unique answers as there are DMs, but I always find Mercer’s answer to be particularly fascinating. When asked, he mentions that he started out as a player, but his group had an awful DM. This inspired him to start DMing himself, and the years of investment and hard work has turned him into the master of the craft that we know today.

Even though this story is fascinating and explains a lot about Mercer and probably many DMs today, every time I hear this story there is one worry that crosses my mind: What if I’m that original DM? What if I am so bad of a Dungeon Master that people tell stories of how bad I am thirty years from now? I think that most DMs have that fear; we constantly worry if our players are having fun, if a good story is being told, if we’re remaining impartial, and all of the other million things that DMs have to or tend to worry about. So how do we, as DMs, keep ourselves from becoming that DM? After thinking about this heavily over this subject the last week, I have come up with some ways that I think new DMs can keep themselves from falling into the Bad DM Trap, both as a storyteller and as a friend to your players.

  • Listen to your players

This may seem like a fairly obvious tip, but often on Twitter or in Facebook groups I hear players complaining about their DM not listening to them or ignoring their wishes (this goes both ways; I see a lot of DMs upset that their players won’t listen to ground rules set or trust them, so make sure that there is respect on both sides). Sometimes the things that players want their DMs to do are a bit outlandish, but more often than not these things are simple requests that should at least be talked through with the player. D&D is a not just a game, it’s a form of collaborative storytelling, and if the players don’t get a certain amount of input, they’re going to feel cheated and that they might as well be playing Candyland. This doesn’t just go for story ideas however; if your players are having an issue at the table, pay attention to what they’re saying. Maybe there is some turmoil between two of the players, or perhaps something that happened in the story went too far and the players are no longer comfortable with the direction that the story is taking. D&D is a great way to challenge players, particularly their creativity and expectations, but it is important not to push them past a breaking point. This is a great way to lose players and even friends forever. Listening to your players as a friend and a Dungeon Master is the most important thing you can do.

  • Use the backstories of your PCs

Often when you have a group of players, each of them will come up with a unique backstory for their characters. Not everyone gets invested in the backstories, but most people will come up with at least a little something. When creating a story for the game, it is important to pay attention to the stories that the players have given you. It can be tempting to focus on the epic story you might have in mind, and often the players will still go along with what you have, but applying elements from the backgrounds of your player’s characters will get the players invested and make the story feel more real. Bringing back an old mentor, a dead lover, or a fierce rival from a character’s past can widen the scope of the adventure and provide some emotional investment that a player might not otherwise have. The more you can get your players invested and pay attention to the characters they have created, the better of a DM you will become.

  • Constantly be working on your world

This point is particularly relevant for homebrew campaigns, but whether you are creating everything from scratch or using a pre-made module, it is vital to constantly be working on the adventure and shaping the world that the players exist in. This will not only help you as a storyteller, but it will also give the players a lot to work with and help make the world feel real. Often the players will have questions about the circumstances they have found themselves in or the background of the town or kingdom they are currently occupying. If you can produce an answer quickly, either off the top of your head or through a quick notes search, it will appear that you have put so much thought into the game. In reality, you don’t have to know everything ahead of time; you can make something up on the spot as long as you write it down, because if it comes up again and you don’t remember what you said, the players might catch on. However, when I say constantly I certainly don’t mean 24/7. (Believe me, I work three part-time jobs, go to school full time, and suck at time management, so I know how precious of a resource that is). However, it is good to spend time throughout each week working on aspects of the world, even if you aren’t prepping for a session. Maybe it’s ten minutes each day, or a full hour once a week; however you can fit in, try to make a habit out of occasionally world-building to make your world even more awesome. The players will appreciate how much work you put into the game for them, and your creative skills will keep growing.

  • Practice your poker face

A lot of DMs worry about struggling with NPCs because they aren’t particularly good with accents or body language. All of these do help provide a fun and authentic experience for the players, but they’re not absolutely crucial to the gameplay. One item that a DM should have in their toolbox however is a good poker face. I personally struggle with this; even as someone who did theatre for seven years, I always sucked at staying in character when something went awry. When my players do something like predict the plot twist or joke about something that might actually happen way down the line, I have a hard time hiding the big goofy smile that has wound up on my face. During my time as a DM, I have become slowly better at holding a poker face when it comes to important things (there’s a difference between smiling while in character because a PC made a joke and grinning because the players guessed something really important that will pop up by the end of the session). However, I still have a lot of problems with this, and it’s something that I hope to keep working on. A good poker face can be a powerful asset to a DM, both when acting as an NPC and while simply observing the players interacting and planning, so working to perfect it can take your game to the next level.

In the end, there’s no formula for how to be the perfect DM. Everyone makes mistakes, even Matt Mercer, Matt Colville, Chris Perkins, and undoubtedly Gary Gygax himself. That’s one of the best things about D&D; it’s a game with a lot of rules but a fluid nature, and we as DMs are in charge of figuring out how to work within the rules, or even throw them out. The only true guideline to being a good DM is to ensure that your players are having fun. Whether that fun is nitty-gritty realism and depression or bust-a-gut laughter, you as a DM are responsible for it, and to make sure it happens we must pay attention to our players and give them what they ask. As long as we DMs allow our players to have fun and facilitate a thrilling and creative story for them, we are not that DM, and we can be proud of the work we have put into the game.


Questions, comments, or concerns? Leave me a comment below or find me on Twitter @DandDDM.

Session 4

After having killed a dragon, looted a dungeon, and dispatched some thieves, my players were pretty confident in themselves. When session four came around, they knew that they could kick ass and take names and were ready to move on to bigger and better challenges. At the end of the third session they had informed me that they were going to be heading to the capital city of Vrotha, and as such I began to plan accordingly.

However, I had not anticipated exactly how thorough the players were going to be. The party had already scavenged some scales, blood, claws, teeth, horns, and an eye from the dragon when they returned from the dungeon, and as such I figured they would take what they had found and move on. Instead the group bought a carriage, went back to the dungeon, and began looting the body even further. Meat, gallbladder, kidneys, and anything else that could be torn from the corpse of the white dragon was quickly removed. I had planned out ahead of time the basic values for each piece and who would be most likely to buy what (or who could turn the items into what they wanted in certain cases), but these new items left me completely blindsided and scrambling to keep up.

The party made their way through the icy landscape of Vrotha to the capital city, Whitepoint. There the players entered and found the city separated into seven districts, each with its own purpose. First, they ventured into the merchant district, looking for people to buy the raw materials. A good charisma roll from Solomon meant that a large portion of the 18 pounds of dragon meat they possessed was bought by a doubting man named Quincy who was currently running Merle’s Meat Market. This exchange gave the group nearly a thousand gold, which combined with what they were given by Simone and Nikolai, the twins who run Augury and Alchemy (the newest and biggest magic shop in Vrotha), amounted to quite a large amount of gold. Solomon also asked the twins if they could do anything with the bile from the dragon, and the two promised to provide him with some options in a week once their alchemy book came in. Finally, the group commissioned some jewelry, a new bow, and some armor using the remainder of the dragon materials they possessed before finding their way to the library.

Caileth was particularly interested in the old book that the group had found in the final room of the ice dungeon. However, the journal was written in celestial, a nearly dead language in the realm of Dracia. This meant that in order to understand the knowledge hidden within the tome, they would need to hire the services of a professional translator. The Library of Vrotha, one of the biggest libraries in Dracia, was home to several professional translators, and Shae Jin, a young eager woman with a love for books took upon the case. However, the book was lengthy and the language was old, meaning that it would take about 30 days for Jin to translate it entirely. This meant that the party would need a place to stay.

Towards the center of the city sat The Lion’s Blaze Inn and Tavern (a reference to an Olan Rogers skit in the vein of RPGs), a place designed specifically (but secretly) for adventurers. Sybil, Tamara, and Martha, the ladies who own the inn, were former adventurers themselves, meaning that they knew exactly how important it was for young adventurers to have a space where they can get new quests and stay out of the eye of the disapproving government. The players found shelter there, paying in advance for thirty days room and board. Inside the tavern rested a secret board, filled with calls for help that potential heroes could pursue. Here the group found their first call to action in Whitepoint.

A group of shepherds had been losing sheep to a strange creature on the outskirts of the city. Despite the government’s insistence that citizens not rely on outside help, the farmers had gotten tired of their livestock being picked off and getting no military help, so they reached out to The Lion’s Blaze for assistance. When the PCs arrived at the house of the head shepherd, they were informed about the situation and instructed to rid the capital of whatever creature had been taking the sheep. With some hesitation, the group set out to the outskirts of the city to see what they could do to help the poor farmers.

Using the corpse of an old sheep, wool, and some tar, the group created a dummy to trick the creature so that they could kill it. After waiting for some time, the creature, a “terracabra” (a modified version of the legendary Chupacabra), swooped down and grabbed the decoy. The PCs followed the creature, attacking it and forcing it to fight back. Solomon found himself being carried away in the claws of the monster, and fell several feet as Caileth struck the killing blow with a blast of sacred flame from the circlet she had found in the ice dungeon. After destroying the terracabra, they returned to the shepherds, and were rewarded with 150 gold, an immovable rod, and a sheep named after each of them. Satisfied with their work, the adventurers returned to the tavern for a night of rest, promising to continue fulfilling quests through the rest of their stay in the city.

This particular session was certainly one of the more relaxed ones we have had, even since the time of this session. Since the group spent much of their time either scavenging materials or shopping, much of the session was spent focusing on the individual characters’ needs and the roleplay between them and NPCs. Nonetheless, the session was informative and I feel like I came away from it with important knowledge, not just DM knowledge but that pertaining to my world, my players, and their characters.

  • It is perfectly acceptable for players to ignore a branching plot point

For many people, D&D is a way that they can escape from the rigorous cycle of real life and the demands placed upon them. Being a DM that does not railroad your player not only provides better storytelling potential but allows your world to become an escape for your players. This means that if you set up a potential plot point and your players show no interest in it, that is completely okay. On their journey to Whitepoint, my players came across the town of Rakski (from Session 1.5) and found the bare traces of a new plotline building. However, the group expressed no interest, spent the night in the tavern, and went on their merry way. My players were not motivated to investigate further, and that is perfectly fine. The whole point of a sandbox campaign is to provide option for the players and to allow them to feel like they are immersed in a real world. This being said, if players ignore a plotline, it is okay (but not necessary) for them to see the consequences of skipping it. Keep in mind that “consequence” and “punishment” are not the same thing. If the players ignore a farmer whose chickens keep getting eaten by foxes, that doesn’t mean they have to see his body drug down the streets in a cart full of people dead from the plague. Rather, you can twist the plot so that the farmer overcomes the foxes on his own, taming the foxes into pets, and when your cleric decides she wants a pet fox the farmer can look her dead in the eyes and tell her no because they didn’t help him when he needed it most. The consequences can be a punishment, but they don’t have to be, and they can be negative without being punishing, but they don’t have to be. When running a sandbox campaign in particular, an important thing to remember is that the best way to make the players feel immersed in the game is to remind them that their actions have weight. Don’t panic if the players aren’t interested in one particular plotline you were sure they would take the bait for, and don’t punish them either, especially if it’s their characters who are not interested rather than the players.

  • Be careful with rare items and creatures in your world.

In the world of Dracia, dragons are extremely rare, so much so that they are considered extinct or merely fairytales by the people of the world. When I decided this in my worldbuilding phase, I hadn’t considered the potential of throwing a dragon at my players, nor had I thought of the ramifications of them scavenging and selling the parts. What was originally a storytelling element became a way for my players to get quite a bit of gold-and at fourth level nonetheless. Normally, the people in Whitepoint would have simply believed that the players were lying to them (with the exception of Simone and Nikolai, who are well-trained in the history of magical creatures and the arcane arts), making it hard for any of the dragon parts to be sold. However, thanks to some clever thinking and talking by Solomon, his high charisma, and some lucky rolls, they were able to convince the gentleman at the meat market to buy the meat off of them. Because I had made one thing extremely rare, I had inadvertently made the players far more powerfully financially then I had intended to. The important thing to remember is not to panic and try to undo what you just did, as that will leave the players feeling frustrated and robbed-literally and figuratively. Rather, allow for other opportunities to arise, such as a market or shop with cool trinkets that allows the players to spend their hard-earned gold on something that they like. You are here to tell the player’s story, not your own, so allow the players to learn, grow, ad gather some gold-they’ll feel much more like accomplished adventurers and heroes in the end.

This session was one of the least memorable ones we had played so far simply due to the lack of intense combat or complicated puzzles. Yet it was useful and necessary; the intensity of a necromancer and a dragon back to back was a bit much for the players, so providing them with an outlet for shopping and roleplay helped to revitalize them. Additionally, their commissioning of items required some time for the items to be made, tying the group down to one spot for a small portion of time as I began to plot out the next leg of the campaign. This strange bit of a lull was the perfect spot for the next portion of the heroes’ journeys to begin.

 

Notable quotes from the session:

  • Me (as an old man): Helloooo??

Caileth: Oh… that’s not what I expected.

Old man: Well, you’re not what I was expecting either, but we don’t always get what we want, do we?? *Slams door*

  • Eli: Can I use spiritual weapon to make a sheep-shaped bomb?

*AKA the moment the cleric officially broke the Dungeon Master*

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Questions, comments, or concerns? Leave a comment below or find me on Twitter @DandDDM.

The Five Room Dungeon

In the 21st century, Dungeons and Dragons has made an enormous shift from-well, dungeons and dragons. With the introduction of Fifth Edition and the rise of shows like Critical Role and The Adventure Zone, the focus of D&D has started to shift away from the pillage-and-loot style of play and more towards a narrative-based gameplay. Stories that could not ever be told before are now being brought to life through RPGs. That’s not to say however that the age of the murder hobo is entirely past, nor are the dungeons and dragons of D&D extinct. It is rather how DMs incorporate these elements in their stories that makes them great.

One of my personal favorite ways to incorporate dungeons into my campaign is by using the Five Room Dungeon format. This format allows a DM to drop a dungeon into their campaign with relatively little effort, and gives the players a chance to experience the adventurous nature of a dungeon without anyone having to commit to seven sessions worth of a deadly, resource-taxing dungeon. If your players tend to get frustrated if certain plot points take too long or if things regularly slog, the Five Room Dungeon is great for a quick pinch of adventure to pep things up. The format is flexible, allowing for DMs to rearrange as needed and perhaps drop in special plot points related to other quests the PCs might have going on. Similarly, because of its effective but relatively short nature, this type of dungeon works extremely well for creating one-shots.

I first heard about the Five Room Dungeon back in August when I was trying to create the three separate options for Session 3. I knew that I wanted one of the options to lead to an ice dungeon, but I had never created a dungeon crawl and was absolutely clueless on how to start. Frantically, I Googled around, trying to find some semblance of advice to help my creative process. Luckily, I stumbled across this fantastic post by Johnn Four rather quickly into my search. Using the format, I was able to whip up an outline for the ice dungeon, and although there was a lot more work to be done to make the dungeon functional, knowing what I needed to do made the whole process so much easier.

Since discovering the Five Room Dungeon, I have used it twice in my campaign. Both of the dungeons were unique creations and had very different atmospheres to them. The format is designed to be flexible and balanced, meaning that you can run a similar format multiple times many different ways without them feeling like a repetitious slog. The Five Room Dungeon format has, naturally, five distinct sections: Entrance/Guardian, Puzzle/Roleplaying Challenge, Red Herring/Trick or Setback, Climax/Battle, and the Reward/Revelation/Plot Twist. While there is a relatively basic order that the rooms should appear in, you can often switch pieces around among the first three rooms to provide unique moments for your players.

  • Entrance and Guardian

The first room in the FRD format is relatively simple and self-explanatory. Every good dungeon needs a worthy entrance to scare off potential adventurers. A good guardian will do wonders to strike fear in the hearts of your players if utilized correctly. For the ice dungeon, I ended up using a very young white dragon as the guardian, which at the time was a fantastic way to terrify my players in the moment, but (as you might know if you have read my Session 3 post) in the long run has made my players a bit fearless. Having to face a dragon, or any fearsome creature, before you even get into the dungeon is certainly a wake-up call for players. However, the FRD doesn’t necessarily require a guardian in the form of a creature. In our 7th session, the first thing my players encountered was a riddle embedded in the metal door in the ground. Scattered around the hatch were tiles, each one holding a letter that could be put into the notches to answer the riddle. Once the tiles were correctly placed, the hatch would click open and grant the PCs access to the dungeon. The puzzle was as effective as the dragon in forcing the players to strategize and work together, but it set a much different tone for the rest of the dungeon. Putting yourself into the mindset of the creator of the dungeon can be very helpful on determining 1) what theme the dungeon should carry throughout it, 2) why the creator would want to keep people out/what the creator wants to keep secret so bad that they would build this entire dungeon, and 3) what steps the creator would take to keep people out of this place. Having a worthy guardian or puzzle at the entrance of your dungeon is key to making sure your players are having fun and being challenged.

  • Puzzle or Role-Playing Challenge

The second portion of your dungeon when using the FRD format should generally be some sort of puzzle or role-playing challenge. This section will depend somewhat on what you chose to do for the first room. If you used a guardian or some sort of monster that the PCs were forced to confront before making it further in, then it would be wise to stick to a puzzle challenge so as to ensure that the PCs get a break from combat and do not drain too many of their resources. That’s not to say however that the puzzle room should not come without risks; perhaps if the PCs get the answer to the puzzle wrong multiple times, a minor trap is set off, causing the characters to take small amounts of damage. However, it is wise to be cautious with this. In the ice dungeon, the second room consisted of a music puzzle that forced the PCs to step on certain tiles in the room in a certain order to reveal the door; if the tiles were pressed in the wrong order, they would get pelleted by darts and the puzzle would be reset. The puzzle ended up being more difficult than intended, resulting in the players being repeatedly pelted with the minor trap. In the future I would say after the first few times of this happening the players would be anticipating the darts and simply mention that they managed to avoid it in order to make the puzzle feel less like a slog. However, if you used a puzzle for the first room, you can flip the rooms somewhat and make the second room a combat or damage-heavy encounter. The second time I used the FRD format, I used one of the complex trap examples from Xanathar’s Guide to Everything. This trap involved a mix of a path of blades, pillars of crushing, and a sphere of annihilation. Although I ended up running the trap much differently than had been intended, it still ended up knocking a lot of hit points out of all of the characters. If I had done this on top of a heavy encounter it could have been extremely deadly to the PCs, but by having one of the rooms be a puzzle and the other a combat/trap encounter, both dungeons were dangerous without being overtly lethal.

  • Red herring, trick, or setback

This room is the one that can have the most variety to it. Often this room is used to provide a sense of false security, or conversely to build the tension for what is to come. Sometimes there is an illusion that might make it seem as if the dungeon is a dead end, or that there is only a small amount of treasure and that’s it, no more hiding behind this spell at all, no sir. Other times it can be a puzzle that forces the players to pause and think things through, or even another combat or roleplay encounter. Two good guidelines for this room to consider are 1) consider what types of encounters your parties the most and put another dose of that here, and 2) if your players took some pretty hard hits in the first two rooms and you still have a tough combat encounter planned ahead, make this area a potential safe spot for a short rest. When I first used this format, the third room was actually that of a long hallway, wherein the players met a group of thieves which would later betray them. The second time I used this format I put in place a puzzle. In front of the players were six doors, and the inscription on the ground stated “Go through the seventh door”. The trick was to go through two doors consecutively that equaled seven in order to move on; otherwise they would reappear through the first door into the room. Both of these rooms allowed the players to keep their minds going and stay in character without causing any further damage to their hit points.

  • Climax, big battle, or conflict

This room is one that I also take quite a bit of liberty with at times. In theory, this is the last big stretch of the dungeon; the room where the players meet the final guardian or are betrayed by the ally that they brought into the dungeon with them or met inside the dungeon. When employing this method, it is often useful to start off with some sort of roleplay so that the PCs know what the “baddies” intentions are. During the second time using the format, the fourth room was a strange hallway in which lived a clay golem that was assigned to guard the last room. It was essentially the boss of the dungeon, and because he could not talk, it was important that he be a major conflict for the party. However, when I ran the ice dungeon, I wanted the players to have more time with the thieves, to get to know them a bit before the thieves turned on them. I ended up making the fourth room another puzzle, so as to help flesh out the characters I had introduced and allow the players some time to feel comfortable with them. Although it is often recommended to be the room with the big conflict, the FRD format is perfect for adjusting little things like this to best suit a DM’s needs.

  • Reward, revelation, or plot twist

Finally, the party has arrived at the final room. Here is where everything goes down, or at least comes to fruition. If the party is after loot, they should find it here. Similarly, if you as a DM and worldbuilder have been leading up to important information, this would be an excellent place to put it. Alternatively, you can pull a plot twist in the form of the information/loot being gone entirely, taken by another person or moved years ago by the dungeon’s creator. In the ice dungeon, this is the moment where the thieves turned on the PCs, insisting that all they wanted was the map inside the room and that they would let the others leave without harming anyone. For the second run through, the fifth room held the long-abandoned study of an old researcher and inventor. They had been sent to retrieve a set of plans, and soon enough they found them-except the plans appeared to be for that of a gun. In a world where guns do not exist yet, it was hard for the characters to understand, but they all had a horrible feeling about what was to occur. Sometimes, the revelation or the reward that comes at the end of the long journey can be bittersweet, or even unsatisfactory, but it needs to feel earned. If there isn’t any good loot, there should be a reason why, perhaps another quest or a hook into the campaign’s overall narrative. As a DM, the fifth room is your opportunity not to end your dungeon, but rather to further the entire game for your players.

The Five Room Dungeon format is one of the most useful tools I have encountered so far as a DM. Its useful and versatile nature allow me to use the same basic idea multiple times, and it takes some of the workload off knowing at least a basic structure of what to do. It’s important to remember however that these are just guidelines; if you don’t like the format, there are plenty of other ways to build not only dungeons but campaigns. There is no right or wrong way to play D&D and create your world, as long as you are having fun.

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Questions, comments, or concerns? Leave me a comment below or find me on Twitter @DandDDM

Session 3.5

After my group’s third session, I was starting to get more comfortable with DMing. Thus when the DM from the group that I generally play in asked me to DM a one-shot, I felt ready to take on the challenge. However, the scenario in front of me required a bit of an adjustment from the games that I usually ran, and I wanted to challenge myself, so I set to work to create a one-shot that I hoped would be fun, unique, and scary.

When I played with my other group, we ran generally from 12-4 because we got together on Fridays or Saturdays, meaning that I had to leave for work. Every time I had run a session prior to this, I had a good six or seven hours to work with and no solid end time to worry about. This time I knew that I needed a concise adventure that could be wrapped up in one session and take about 3 hours (figuring in time for eating and restroom breaks). But I struggled with a good plot thread, a concept to use in the session. I have never been particularly good at creating unique ideas from scratch, and as such I was at a loss for a while.

Around this time, Sagas of Sundry: Dread was airing on Geek & Sundry’s Project Alpha. I had been eagerly watching the episodes week by week, clinging to the unique characters and air of suspense surrounding the series. As I drove to work one day, I found my mind toying with the idea of a horror one-shot. However, I have always been a weakling when it comes to horror entertainment; if I couldn’t watch a horror movie then how could I expect to provide a suspenseful and scary D&D scenario? I was about to pass on the idea when a thought struck my head.

Out of nowhere, the idea for a monster popped into my head. It was tall, lanky, with enormous arms and legs. Its head was pale, and nearly featureless. Skin was stretched over where eyes should lay, and two thin slits rested where a nose might be. A grin, devoid of lips but filled with sharp teeth, was framed by dark horns that emerged from the sides of the creature’s head and curved around to stick out next to the mouth. The pale skin at the head gradually fades into a pitch-black color, allowing the creature’s strange cloven feet to blend into the darkness. Finally, where fingers should have existed on the creature’s hands, instead there were lengthy thin claws, dragging behind the evil as it moved. To me, the creature was terrifying, and to this day I still am unsure how the idea for it popped into my head.

Once the demon popped into my head, the rest of the scenario quickly fell into place. In order to keep the scenario contained, I decided that the group would have been asked to investigate a monster inside the house of a rich elderly lady. Once inside, the house will have been transported to a pocket dimension with no exit, forcing the group to stay inside the house until the mystery was solved. The basic plot would be that the son of the older lady had been trying to bring his younger sister back to life, but had accidentally summoned a demon and subsequently been possessed. Over the course of the session, the group would be given opportunity to uncover the mystery behind “The Blind Demon” and potentially exorcise the demon from the body of the son.

The party consisted of a monk, a barbarian, a rogue, and a cleric, all at fifth level. Since it was a one-shot, I wasn’t terribly concerned with the characters and their abilities when setting up the scenario, although there were multiple moments where the PCs’ skills came in handy. In order to start the session quickly and ensure we had enough time to play, I essentially info-dumped the scenario on to the group, telling them enough details about the house, the lady who hired them, and the creature that resided within. While I would never have done this in the middle of an actual session, it worked for a group like this, involved in a one-shot and short on time. The group gave no pushback, and when I essentially dropped them off at the house they hit the ground running.

Once inside, the group found a pool of blood in the center of the hallway. Lying next to the blood was a piece of paper torn from a book, which held information about a specific demon and the details about performing an exorcism, as well as the words “HELP” written in blood. The cleric, actually a blood cleric, used his ability to connect the blood to the originator, and thus the group knew the location of the Blind Demon. Using the list of required materials on the piece of paper they had found, the group set off on a mad dash to find the ingredients, avoid the demon, and save the son.

Going into the session, I had very specific ideas of how I thought the entire situation would go, which is, as a DM, one of the biggest mistakes you can make. Still, I felt that the session went well, and to this day I am incredibly proud of this one-shot. I hope to continue working on this one-shot, playtesting it and tweaking it, then eventually publishing it on DMs Guild one day. But until that moment comes, it is important to reflect on what I learned from this session, both as a DM and as a content creator.

  • Your PCs might have abilities that circumvent elements of your story-and that’s okay

I hadn’t realized when creating this session that Eli’s character was going to have the ability to sense where the Blind Demon was at all time. At first it threw me off guard, but I was able to adapt to a certain extent. However, this ability did inherently change the nature of the game. Instead of being a straight up horror/haunted house type of story, it morphed into a suspenseful strategy situation. The group knew exactly where the Blind Demon was at all times, meaning that they had to carefully plan every move, every step to ensure that they did not run into the creature and endanger their lives. While this was an unexpected occurrence, it was a welcome one, and reminded me that as a DM the most important abilities are adapt, overcome, and improvise.

  • Repurposing monsters can be useful, but do so carefully

When I came up with the Blind Demon, I knew that I would have a hard time finding something that matched what I wanted as far as stats. I went into the Monster Manual looking for something to reskin that seemed powerful and frightening, but also matched the physicality of the demon. I settled on the Goristro, a demon itself, to fill in for my creature. The goristro has an ability called “Charge” that allows it to gore a target with its horns if it can move at least fifteen feet straight towards the target before it hits. Originally, the goristro had two fist attacks and one hoof attack, but I changed it to two claw attacks and one horn attack. What I adjusted on the monster felt like it held little difference because of how I intended the adventure to play out, which was a tremendous mistake on my part.

The goristro is a monster with a challenge rating of 17, an encounter which would be quite deadly for a group of four level-five adventurers. This might seem like madness, but when I picked the monster, I had a purpose. I wanted the Blind Demon to be a fearsome creature, a horrible monster that none would care to face. Because the demon was actually the son of the lady that had recruited the adventurers, I wanted to players to save the son and not kill him. I had hoped that the “HELP” on the paper found in the hallway at the beginning would lead them to that conclusion on their own, but I hoped that by making the demon a horrendously powerful creature I would force the players to avoid combat. At one point however, the players got caught in the same room as the demon, and instead of running, they decided to fight. I was worried about killing the players, so after a couple rounds of combat, I had the demon run away. While it saved the players, it weakened the story. I realized after this that it was important to allow room in the scenario for the players to defeat the demon, to kill the son, and that in order to make this scenario better I would have to rework the demon to provide more versatility in the outcome.

  • Creating unique props can help draw the players into the story

When I concocted the idea of the scenario, I wanted the paper that the PCs found to be a real piece of paper that the players could look at. On one side, the paper contained background information about the Blind Demon and its origin, as well as how to summon it, while the other side held the instructions and materials for how to banish it. I typed up the information on a plain piece of paper then asked my mom to help me age it. She used brown and tan paints to give the paper an older look, smudged some of the ink, wrinkled the page, and tore some of the edges. To lend the page a more horrific look, she mixed up more paint to look like blood, splattering it across the paper and tracing the word “HELP” in thin bloody letters. Finally, she drew a six-pointed symbol on the bottom corner, the symbol that the group would need to make to banish the demon, and tore that portion from the rest of the page. The prop was wonderful, scary, and engaging. My players knew immediately that it was important to their quest, skimmed it for clues, and began a hunt for the section that was torn away. Having such a unique prop immediately immersed the players in the story and helped to establish the atmosphere I wanted, that of a sense of urgency and suspense.

To this day, I have run the Blind Demon scenario twice, and I hope to continue to keep running it with different groups, fine tuning it and playtesting it. Eventually I want to work out the problems with the scenario, write it out properly, and publish it for others to use. I am incredibly proud of this scenario, and each time I have run it so far it teaches me powerful and unique lessons, both as a DM and as a content creator. It is important to remember when running the game that above all else, the most vital thing you can do as a DM is to not set expectations for how a scenario will go. The more of an idea you have for how the situation should go, the less likely you will be able to adapt to the players and their needs. Whether you are running a premade adventure or creating something yourself, remember that adaptability and improvisation are your two greatest assets in the world of DMing.

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Question, comments, or concerns? Leave me a comment below or find me on Twitter @DandDDM.