Session 7

As the group approached the seventh session, I knew that I wanted to start teasing certain elements of backstories in order to get the plot moving along. By this point, I had in my possession quite a bit of information about Lei, Bel, Solomon, and Caileth, and I had started to come up with some larger arcs that I wanted to introduce into the story. There was still quite a bit of business the group had to take care of in Vrotha however, so it was crucial for me not to rush into anything, but rather tease things as the events in Whitepoint played out.

Another tricky element was introduced into the seventh session. Caitlin, a coworker and friend of Neli’s, was an avid fan of Critical Role and had wanted to start playing D&D, but had been unable to find a group to play with in our area. We welcomed her into the group, and she rolled up Fenhaly, a halfling monk who came to the capital of Vrotha looking for a young girl who had been kidnapped. Even though this wasn’t exactly the first time I had introduced a new character into a pre-existing group (Bel was a little bit of a late plant in Session 2), this was my first experience doing it for a group that was already so bonded. I was nervous at introducing a new character, particularly for a group of such loners, so going into the session I had hope that everything would go all right.

Immediately at the beginning of the session, the group was sitting at the inn after their druid adventure and the day at the festival. Viola Ruxperd, a general from the Vrothan army, entered The Lion’s Blaze Inn and Tavern to “pay a visit” to the ladies who owned the inn. This served two purposes for the group: 1) to remind them that much of Whitepoint and the local government frowns deeply on adventurers and 2) to show a bit more of the internal tensions of Vrotha. Ruxperd was a character who had not entered the picture before, but she was one of my favorite NPCs that populated Vrotha, so I was excited to have a chance to show her off.

Once General Ruxperd had left the inn, Izzy came running into the place and shot up to her room. The group was already suspicious of her because of the incident the previous day, but they were even more suspicious when Fenhaly came running in after her. The halfling eventually made her way up to the second floor with Lei hot on her heels. Izzy had escaped, climbing out the window and running off into the crowd. Fenhaly tried to pursue, but quickly lost sight of the girl. She came back into the tavern and began to discuss with the other PCs what she knew and what they should do. Eventually, they decided to make their way to the Onyx Barrel Tavern and perform a stakeout to see what they could learn.

After a few hours of inspection, the group found no traces of Izzy, but decided to send Fenhaly in to talk to their old pal Whitley. Inside, Fenhaly saw Izzy sitting next to a gentleman dressed in dark leather armor. Quickly however the attempt to talk to the bartender went awry, and the gentleman at the back of the room insisted upon speaking to Fenhaly-and the rest of her group waiting outside. This man was Salazar, one of the prominent members of the Obsidian Tower. He explained that the Obsidian Tower was a local organization, similar in many ways to a thieves guild. However, this group had been kidnapping children and using them for nefarious purposes. Fenhaly’s friend was among those who had fallen victim to the group, and Salazar decided to take advantage of this fact.

In exchange for the release of the girl Fenhaly was looking for, Salazar requested that the group make their way to a dungeon on the outskirts of Whitepoint and retrieve some plans which were located within. Something within Solomon was triggered, however, and he demanded that whether or not the group succeeded with the plans, the children would all be set free simply for the group’s attempt. Salazar was unwilling at first but was eventually persuaded. With this agreement met, the PCs set off.

I used the Five Room Dungeon format for this dungeon, meaning that upon arrival at the dungeon, the group found a mysterious riddle set into a large metallic door covered in ash and snow. Though it took some time, they found their way through the door and into the dungeon. Unfortunately, they were met with the Path of Blades, a dangerous series of traps. The first section held a large section of whirling blades ready to behead anyone who dared step into their fray. Next were several pillars slamming down from the ceiling into the ground, threatening to crush the life out of the adventurers. Finally, the Rune of Fear was a large sphere hanging above the exit with a rune emblazoned on the front to strike fear into any who approached. With some significant struggle, the group made it through the blades and pillars, and every one of them made the Wisdom saving throw to pass the Rune of Fear, meaning that they had made it through the complex trap.

The next room held a series of six doors, each labeled with a number one through six, and an inscription on the floor stating, “Go through the seventh door”. My group was particularly befuddled by this puzzle, particularly once they tried going through one of the doors and emerged promptly from the same door they had entered. They began to try random doors, and after some trial and error Lei consecutively went through doors 1 and 6 and did not enter again from the usual door. The remaining PCs realized after some panic that they had to go through two doors that equaled seven when added together and were promptly reunited.

What awaited on the other side of the door was a large stone room filled with pillars and what appeared to be some kind of statue with little form. Upon closer inspection however, the statue came alive and began to watch the party. It was actually a clay golem who had been assigned to watch over the entrance. Although the PCs tried to lure it away from the door, it remained steadfast. The group quickly found out however that simple hits from weaponry did nothing to the monster; magic was the only thing that appeared to damage it. Eventually, the golem fell in battle, though not before taking a sizable chunk out of Bel. The group made their way past the golem and the skeletons that lay within the chamber and entered the final room.

Within this room lay a study of sorts. A desk and several bookcases filled the room, and various pieces of treasure occupied the space as well. The group found a pair of earrings that could be used as a communication device, a quiver with some extradimensional storage properties, and some goggles of night vision. It was the plans that quickly turned the adventure sour however. The PCs found the plans in pieces, and after putting them together they discovered that they were blueprints for a gun. None of them knew what a gun was in-game, but Lei’s military training gave her just enough of a hint to know that this was bad news.

Suddenly the group was at a loss. They began to debate on whether or not they should actually hand the plans over to Salazar, and if they could even get away with lying to them. Everyone agreed that these plans and the Obsidian Tower were bad news. Solomon suggested joining the organization and bringing it down from the inside, and while most of the group didn’t like that option, they were at a loss for what they could do. As the PCs ascended the stairs in the final room to make their way out of the dungeon, they racked their brains for a solution, and soberly contemplated what their path might be once they reached the surface.

Although this session is definitely not my favorite in my D&D experience, it carries a lot of weight within my mind. This session took place in December, and our group has not had an official session since (though this will be rectified next week). I have had a lot of time to ruminate on this session and I think that even if it wasn’t the most fun session we have ever had, it was certainly valuable to me as a DM in learning my craft.

  • Read and understand your traps

When I was looking for a series of traps to use for the encounter, I found the Path of Blades within the Unearthed Arcana for D&D 5th edition. This was prior to my acquisition of Xanathar’s Guide to Everything, so I am unsure how that could have possibly changed the encounter, but I know that I certainly did not run the trap the way it was supposed to be run. I had thought I understood exactly what the trap needed, but once it came time for the players to proceed, I was lost and confused. Whatever the rules said I ended up throwing out, and I ran the trap very different. I think it worked adequately for what I was intending, but it was somewhat unsatisfactory. A week or two later I wound up rereading the instructions and I realized what I had misunderstood. In the future when I use a trap I plan to read and dissect the sections of it multiple times to make sure I understand it, particularly for a complex and multi-layered trap like the Path of Blades.

  • Consider all of your PCs powers when designing an encounter

Before I knew that Caitlin was going to be playing a monk, I had the dungeon encounter almost entirely finished. The problem that had been accidentally built into the session was that the big bad for the day was going to be the clay golem, which takes no damage form basic physical attacks but instead only can be damaged via magic. For Solomon, Caileth, and Lei this was no problem, because they had access to at least a minimal amount of magic. Fenhaly however was a low enough level and a specific subclass of monk that provided no access to magic. The lack of magic was also a problem for Bel, but the fact that both of them had issues brings to light an interesting point. Providing an enemy that is immune to a specific type of damage or plan of attack can make for an interesting encounter, particularly if you have players that fall into certain patterns of attack and rely too heavily on one or two specific talents. This means that for the normal group, the clay golem would have made for a unique challenge. However, because Fenhaly was a newcomer to the situation and also had the same problem, the encounter became more complicated for me as the DM on a metagame level. Caitlin was a newcomer who had happened to pick a melee-centered class with a lack of access to magic, and the golem was the only combat encounter in the session. This mean that Fenhaly didn’t have anything to do in combat, and as such Caitlin wasn’t given the chance to play around with any of her monk skills within the first session. If I had had more time before the session to fix this, I absolutely would have. I encourage other new DMs to pay attention to their players’ abilities, particularly if you have any new people joining your party halfway through, and especially if they are new to RPGs and D&D. We want people to have a good time playing, and if they end up sitting on the sidelines for most of the session because of a mistake you made, the day can go from great to garbage in the space of minutes.

  • Serious sessions can be good, but they are not necessarily best

This session was one of the first real opportunities I had to tease some backstories, and I also wanted to bring some weight to the world with the discovery of the gun plans. I always tell my players that their actions have consequences, and I think that this session really made them realize that their choices have weight. Similarly, Solomon’s encounter with Salazar quickly became serious in a way that most of hadn’t expected. This was likely due to the fact that no one besides myself knows anything about Solomon, and was also compounded by our groups’ lack of roleplay experience. It was hard for some of the players to separate their reaction to the encounter with their character’s reaction. While it was really fascinating and unique to see, it made me realize that I would not enjoy a truly gritty and constantly emotional game, and I don’t think my players would either. Even though most of the characters have very serious and possibly tragic elements to their backstory, the players got into D&D to have a good time. While they are here to tell a story, and that might include some sad moments, none of them (myself included) wants to spend the entire session in tears. Dungeons and Dragons is above all else a way for a group of players to have a good time and bond with each other, and in order to provide the best game experience possible we DMs need to pay attention to the things that our players enjoy and the moments that they are uncomfortable. This will allow us to learn and grow as DMs and create an excellent gaming experience for our players.

The seventh session was different in many ways, but that doesn’t necessarily mean it was bad. While it was certainly different, and sometimes somber, it was still fun for us. The group enjoying themselves is the most important element of D&D, and telling a story usually comes second. As a DM, we are an amalgamation of everything we have done before, everything we experience within our own games and what we learn from watching other games or talking to other DMs and players. Much like everything else in our lives, we never stop learning and growing, nor should we accept stagnation in our tabletop roleplaying. I want to constantly strive for the next great D&D experience for as long as I live, and I hope that my players will take that journey with me.

 

Notable quotes from the session:

  • Me: The table is made out of a sort of dark wooden… wood

(Unfortunately my players have made this one a significant inside joke so I felt obligated to include this as a “Notable Quote”.)

 


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

Session 6

With the Halloween session and the Blind Demon out of the way, it was time for our group to attend to some duties that they had signed up for in the past few sessions, and otherwise enjoy themselves while in the capital of Whitepoint. There was a three-day gap from the end of the goblin encounter until they were needed by the druids, meaning that the four of them had ample opportunity to explore the city, do research, or run some errands. Similarly, the twins who ran the magic shop had offered to provide some options for potions or poisons using the dragon bile that the group could commission once their spellbook came in, so the players had some options available to them for the start of session 6.

Caileth, truly a bookish, mom-friend style cleric, decided to go the library and do some research. The group had also taken several books from the DeMarcus household, so they spent some time poring over those tomes as well. Solomon did a bit of sight-seeing, while Lei ventured to the temple, spending some time praying to the gods to watch over those whom she cared for. Bel ventured off to a toy shop, finding a dragon toy that he sent back home as a present for someone special in his life. Finally, the group stopped by Augury and Alchemy to see what Nikolai and Simone had found for them. A type of poison that could be used on a blade was selected, and the twins gave them a timeline for when the poison would be ready. With that, the errands were done, and the adventure could begin again.

The PCs met up with the druids in the same place they had met them before, but this time they got to see that there were more than just the leader, his husband, and their bodyguards. Dozen of men, women, and children, all ages and races, gathered together to perform their annual pilgrimage. Elmyar, the leader, greeted the group cheerfully, reintroduced everyone to one another, and gave marching orders. With that, the druid tribe began their trek.

The trip to the tree and back was relatively uneventful. On the first day of the journey, the group did stumble upon what appeared to be an abandoned baby goblin. The little critter couldn’t speak common, and Lei and Bel were less than thrilled about the new companion. Caileth, however, remembered the goblins from the previous encounter, and eagerly accepted the goblin child. She fondly nicknamed him Chewy, after she gave him a leather strap to chew on and he eagerly dug in. Chewy for Caileth was a fond little part of the strange adventure.

After two and a half days of traveling, the troupe finally made it to the tree that held so much meaning for the druids. Elmyar explained that after the Great War, the land of Vrotha was completely devastated. Heartbroken that her homeland was so broken and dead, Denaria, a frost elf and loyal warrior of Severin, the god of nature and plants, sacrificed herself to Severin so that she could become a beacon for his energy, restoring the land to its former glory. Her body became the tree, and the magical energy from Severin is still channeled through her into the land to this day. The tree itself is magnificent and beautiful, limbs stretching out to reach the sky, and a blue gem embedded in the trunk. Despite the snow falling in the northern kingdom, a large periphery around the tree was completely dry, vibrant green grass visible several feet around the tree in a circle. The divine energy the tree possessed allowed it to be evergreen throughout the year, but in order to maintain the energy, it needed a time of renewal each year. Once every cycle, the druids would gather in a circle around the tree and use their life energy to maintain the land while the tree was able to cycle through summer, fall, and winter, all in the space of twenty-four hours.

It was the job of the group, then, to protect the druids in the circle while they allowed the tree to be reborn. They had no clue what would happen if the circle were to be broken; they only knew that the Glacius tribe had been tasked by Severin centuries before to protect the tree at all costs. Each and every druids’ life force was needed, forcing them to rely on outside help during the renewal ceremony. The PCs were to protect the group at all costs, though the druids would prefer it that they refrained from killing anything; this would allow the druid tribe to fulfill their duties. With that, the druids began to perform their ritual, leaving the PCs to their own devices.

Most of the night passed uneventfully; at one point, Chewy nearly got out of his harness and escaped into the forest, but Caileth managed to keep hold of him. At another point in the night, wolves surrounded the clearing, but the characters were able to scare them off with some scary noises and a good old casting of Thaumaturgy. Everything seemed clear until the last hour, when out of nowhere a giant began to wander into the clearing. With some quick thinking, the group managed to distract the giant, leading it back the way it had come. Eventually, it ran into another giant, and being territorial the two began to duke it out in the mountains, far enough away from the druids that they couldn’t cause any damage to the ritual. An hour or so later and the ritual was complete, meaning that the group could rest before making their way back home.

Once back at Whitepoint, the Glacius tribe paid the group and said their goodbyes. Chewy went with the druids, since he was significantly safer with them than in the walls of the capital, though Caileth was not happy about having to say goodbye to her new goblin child. The druids thanked them for their help and promised them they had gained friends if they were ever in need of some, before taking off into the wilderness. The PCs ventured back into the city, only to find that the city was celebrating King Esmond’s birthday. Games, food, and competitions were everywhere to be found. Lei tried her hand at an archery competition, Solomon competed with some musicians, and Bel played the Ring the Bell game (which he promptly broke with an extremely high roll, much to the chagrin of the game owner). Overall, the group had fun with the celebration (all of which was recycled from Session 1.5) and left with a few prizes to their name.

However, on their way back to the tavern, the group encountered someone crashing through a store window nearby. The person appeared to be a young woman, physically similar to Izzy, a fellow patron of the Lion’s Blaze Inn and Tavern. After a quick and eventful chase, the group traced her to the Onyx Barrel Tavern, a small and unassuming bar closer to the center of town. Upon entering, they found Whitley, the apparent bartender of the establishment.

There was no trace of a woman to be found, and despite their insistence that a girl came into the tavern, Whitley was persistent in his denial and refused to allow them into the back room. His resistance was met with some physical retaliation on the part of Caileth, but he maintained his resolve. Although the troupe was reluctant to give up, they decided that they wouldn’t be getting info from the bartender anytime soon and headed to rest back at their inn, thus ending the session.

This particular session was a bit of a wild ride; it was the second one in a row that had no sort of combat encounter, and allowed for a wide range of events and emotions to drift to the surface. It also went quite a bit longer than I had intended it to, with the group being extremely more determined to find out what the bartender and the mysterious woman were hiding than I had anticipated. Overall, it was an enjoyable session, one that I got to see my players flourish a bit more in and I personally got to flex my roleplaying skills a bit and practice an accent or two As always, I came away from the session having learned several things about my party and about DMing.

Know the morals of groups in your world

When I had originally created the encounter with the giant, I had intended for it to be an action-packed encounter, one where the players might have difficulty taking down the antagonist but would still get a chance to show some of their awesome new level 5 skills off. However, when I began working on the druids more, both as characters and as a unit, I realized something important: the druids within the tribes believed that all life was precious and tried not to kill without a valid reason. As such, the druid leader Elmyar would likely tell the group that they would prefer the PCs to only harm or kill if absolutely necessary. Whether the PCs chose to align with that preference was their decision, but I knew that by putting the possibility out there, the chances of the encounter being a combat one had significantly decreased.

While this was perfectly fine, it made me realize that I probably should have considered this in advance of the encounter’s creation. Any PC of worth that you as a DM introduce should have some sort of moral code, some belief system (even if it is a total lack of faith and belief in anything), and knowing these things is important. This goes double for factions, tribes, and any other group you might introduce into your game. Not only will this give you a better sense of what your tribes are more inclined to do (and thus the characters within them as well), but it will also make your world seem real and whole, something that has had thought put into it.

• Be accommodating of those in your group who are not as comfortable with role-playing

Even though Dungeons and Dragons is considered a “roleplaying” game, there are many people who only get into the role-playing aspect enough to consider the actions that their character might do, and do not fully get into character the way actors like those on Critical Role do. And this is perfectly fine. The point of the game is to have fun and feel comfortable, not to constantly try to push your players for an Oscar. That being said, if you have a few players who are not as comfortable roleplaying as some of the others, pushing them a bit is perfectly fine as long as you consider everyone’s boundaries and comfort zones. Two of my players, my dad and Eli, have had theatrical experience, and although they have their limits too, these two tend to be a bit quicker to step into the roles of their characters than Reagan and Neli. The other two have told me that they want to get better with the RP aspect, but they are not quite comfortable just yet. Because I have a close relationship with both of them, I thought it might be a good idea to try to have a one-on-one RP opportunity with each of them to allow them to practice their roleplay.

Elmyar, as the leader of the druids, took interest in Solomon, who is not necessarily the leader of the players’ group but the face of it with his high charisma. Thatoris, Elmyar’s husband and a blind wood elf druid, took special interest in Caileth, sensing a love of nature and an inner turmoil from her. Mirie, a human druid and a bodyguard of the couple, recognized Lei’s soldierly demeanor and initiated a conversation about their pasts. Finally, Krisvyre, a wood elf and another bodyguard, tried to connect with Bel due to her similar past, something that she was able to discern from his behavior, solitary attitude, and clothing. Each of the players had an opportunity to connect with an NPC, allowing them to practice roleplaying at a slower pace. The most important thing to consider when trying to bring players out of their shell is to take things slowly and to go at a pace that is comfortable for them, because the moment you try to push them too much, they are likely to close themselves off, leaving you as a DM with nothing to work with.

• Consider allowing multiclassing to have a story affect

Eli had been considering for some time multiclassing Caileth into a druid, primarily due to backstory reasons, but also because Eli loves druids, and the class’ reliance on wisdom makes it a convenient multiclass for a cleric. However, I didn’t want Caileth to just wake up one morning with druid capabilities suddenly, so I knew that I needed an opportunity for her to learn. Much of the druid storyline came about due to my desire to foreshadow a few elements for later in the story, as well as to drop in some world lore; however, one important part for me was allowing Caileth the chance to at least be exposed to druids again, to give her a reason to know and learn about this new class. This in particular is why Thatoris took an interest in Caileth. He encouraged her, attempting to teach her the Druidcraft spell and inspiring her to find her own connection in nature. Providing this path for Caileth to gain access to the first step of her druidic powers made the decision more cinematic and consequential, and helps keep the story of your campaign consistent. Although it might take some work, allowing those who desire to multiclass in your campaign to have a story reason will make them feel as if they are really in their character’s shoes and will allow you to keep control over the narrative.

Potentially teasing backstory elements can create an amazing effect in your campaign

One night during the group’s journey to the tree, a cozy moment with the druids around a bonfire was interrupted when a bird swooped in and delivered some news. Apparently, the druids had been following a woman throughout Vrotha. The woman had been visiting small villages, poisoning the water supply, and holding the cure ransom. At several of these sites, the druids had been able to thwart the woman with their natural powers, and as such the woman had apparently decided to leave, venturing out of Vrotha and out of the domain of the Glacius Tribe. However, as Elmyar explained the situation, he described the woman in a way that was similar to a person that Caileth new from years ago. Although she couldn’t be sure, just hearing the description was chilling to Caileth, and witnessing her reaction to this moment was absolutely amazing. Whether or not this story element goes anywhere or rings true, seeing the look on Eli’s face, and subsequently the reaction from everyone else, was pure joy as a DM. This was the first opportunity I had ever been given to tease something from someone’s background, and I look forward to continuing to put to work the excellent backstories that my players have given me.

This particular session was a lot of fun for me, specifically concerning weaving lore and backstories together and getting to roleplay some of my favorite characters of the campaign (the druid husbands, whom my players even admitted they actually liked for once too). Having the druid tribe and the tree in the session allowed me to construct more of the world of Dracia, and gave me a chance to bring some of my friends out of their roleplaying shells. Although it might not have been the best of our sessions, it is still one that I consider monumental for us in some ways, and a new test of some of my DM skills.

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

Session 5

Session 5 was to take place in October, and like many DMs, I wanted to try and do something spooky in preparation for Halloween. Due to school and work, I didn’t have much time to prepare anything new, so I decided to insert the Blind Demon scenario from Session 3.5 into the campaign. This was intended not only to provide a horror-themed scenario, but also to provide another group to playtest the adventure that I had created and was particularly proud of. I knew that the adventure would last about four or five hours, and our monthly sessions tend to run eight or nine (including breaks), so I added some extra content that the group could explore once the demon encounter was over.

The group was enjoying breakfast at the Lion’s Blaze Inn and Tavern when the matriarch, Sonia DeMarcus, burst into the establishment looking for Sybil. She explained that she had left her house to go into town and retrieve supplies because it was her servants’ days off. However, when she returned she glimpsed a monster inside of her house, and in her fear she ran to find the only friend she had. Unfortunately, the players were not particularly fond of Sonia (and their opinion did not improve over the course of the adventure), but knowing that the lady was rich was enough to motivate them to help. This moment was a particularly tricky part for me, because when I ran this adventure last I simply dropped the group into the scenario, but I couldn’t do that to a pre-existing group, so I took my chances, hoping that the promise of gold would be enough to motivate them.

Unlike the first time I ran the Blind Demon scenario, the adventure ended up being true horror experience, instead of a suspenseful and mysterious one. (In the months since, my players have claimed that the trailer for the new horror film A Quiet Place reminds them heavily of what occurred in the house with the Blind Demon). The group was anxious, unsure of what they were about to experience, and were constantly on edge while they prowled through the house. Caileth and Lei in particular said more than one prayer to their deities; this is particularly profound because neither of them are religious, not even the cleric ironically. The party’s discovery of the secret passage led to some clever thinking on their part, allowing them to occasionally bypass the creature that they knew would eviscerate them. However, they had some difficulty locating the candles crucial to the banishment, though much of this was likely due to their hesitance to go into the attic. This led to one particular instance where the PCs were trying to sneak up the stairs from the second floor into the attic, with the Blind Demon lurking on the bottom floor next to the stairs. Caileth, Solomon, and Lei all made it to the attic with no problem, but Reagan unfortunately rolled a 3 for Bel’s attempt, resulting in him tripping while trying to climb up the stairs. The enormous sound he made after tripping alerted the demon, forcing Bel to bolt to safety with the creature hot on his heels. He darted into the attic, the rest of his party slamming the door behind him. The Blind Demon pounded on the door, but alas his claws kept him from opening it, and he soon wandered away.

Eventually, with careful maneuvering and more than a little tiptoeing, the group made their way around the mansion, collecting the elements needed for the banishment and encountering the ghost of Vivian DeMarcus. The PCs realized that Peter, the son, was likely the demon who failed while trying to bring his sister back, and began to take on an even more unfavorable opinion of Sonia after finding Peter’s journal entries discussing his mom’s behavior since the passing of her daughter and husband. Finally, they assembled the ritual, lured the demon into the circle, and banished the demon from Peter’s body. The group returned to the tavern, reuniting Peter and his mother, though they confronted Sonia over her poor parenting skills despite her apparent mental instability. Sybil, angry at the group’s attitude towards her friend, defended Sonia from the group and took her back home. With that, the adventure of the Blind Demon came to an end for this band of adventurers.

A listing for warriors for hire was placed on the adventurer’s board, so the group grabbed the flyer and set out to meet the people responsible. A group of druids, known as the Glacius Tribe, were searching for protection for a yearly pilgrimage they embarked upon once a year. Elmyar, the leader of the tribe, was a tall moon elf with silvery blue skin and long, dark black hair. His husband, Thatoris, was an even taller wood elf who possessed long blond hair and pale skin. Elmyar was particularly flamboyant in demeanor, showing an enthusiasm for life that was balanced with his fierce loyalty to his people and a devotion to his love. Thatoris was the quiet calm in contrast to the druid leader, showing his age and his lack of sight through his caution and continuous close proximity to Elmyar. The group took a liking to the elves, and after an interview they signed a contract with them, promising to accompany them when they departed on their small journey a few days later.

With some time left in the day, the group took another flyer from the tavern, one that asked someone to stop a band of goblins who had taken to ransacking incoming merchants. After talking to the head of the merchants and being given a list of items that had been taken recently, the group set off to find where the goblins would set up shop. They quickly found the goblin cave and followed the creatures to the road where they would later ambush an unsuspecting merchant. Due to a not so great stealth role, the goblins noticed a few of the PCs, but because I for some reason like to play goblins in a Three Stooges/idiotic style, they didn’t care that these random humanoids were watching them. None of the party knew how this was going to go and were curious to see what the goblins had in mind, so they waited until a merchant came along. As the poor traveler drove his cart underneath the tree, the goblins launched themselves onto the man, distracting him while two hobgoblin buddies began grabbing items from the cart.

Finally, the group decided to intervene. And by “the group decided to intervene”, I mean Caileth decided to run up to the merchant, grab the goblin off of his face, and throw him into the snow. The other two goblins, seeing this, decided they wanted their turn, and promptly demanded that she throw them as well. A well-timed natural twenty resulted in the goblins being promptly launched into the forest. Meanwhile, the two hobgoblins were overpowered and tied up by the rest of the party. After assuring the merchant that he was okay and collecting the items the fiends had stolen, the group walked back to the capital and turned the goblins in to the guards. What was originally intended to be a combat encounter was solved with goofy shenanigans in true D&D fashion.

Overall, I really enjoyed this session, and I was grateful to get a chance to playtest the Blind Demon encounter again. There were a few definite things that I learned from the session, and it made me look at one particular type of encounter in a new light.

  • The same scenario will play out very differently with different characters, even if the players are the same

A big part of why I think this iteration of the Blind Demon scenario was a lot more tense was due to the fact that Eli was no longer playing a blood cleric. The blood cleric had the ability to use a creature’s blood to track it, but neither Caileth, nor anyone else in this group, had such an ability. This meant that the group had to be much more careful about the location of the demon at all times. Suddenly, the encounter became much more frightening, and potentially more lethal; it was some strange haunted house/slasher film that the PCs were trapped inside. Even to this day, my players still tell me that this was an incredibly terrifying adventure, which is the effect I was hoping to achieve, one that I don’t think I truly managed to find with the first group. It allowed me to realize that even minor character abilities can affect a scenario in ways that I had never imagined, and one of the most important things to do as a DM is have a basic understanding of how your PCs’ abilities work. That’s not to say you should have everything the players can do memorized; knowing exactly how the classes work should be up to the players. But knowing if your team has decent stealth, good range attacks, or, yes, the ability to track a monster through their blood can really help you as a DM determine what elements of a story will work best for your players, providing a nice challenge while still allowing them to feel heroic.

  • Social encounters can also have a victory condition

When I came up with the druid encounter, I didn’t really imagine a scenario where the group would fail to get the job once they met the druid leader. In retrospect, I would likely have made the encounter a little more serious, providing a more in-depth interview of the PCs and providing an option for them to “fail”. While a big part of the DM’s job is to ensure that the players feel like the heroes of the story, a realistic tale also doesn’t have the characters succeed at every angle. Building in a scenario where the players don’t have to work makes the players lazy and the characters Mary Sues/Gary Stus who are practically perfect at everything. I don’t necessarily regret not making this encounter trickier, but in retrospect it makes me want to try harder when designing social encounters, knowing that they can be just as unique and challenging as combat encounters or skill challenges if we as DMs allow them to be.

I really enjoyed this session, and although I can’t say it was an absolute favorite, it was a lot of fun and allowed me to learn some valuable things about my DMing style. Additionally, being able to try my hand at the horror genre in D&D was fun and refreshing. I still hope to keep playtesting my Blind Demon scenario, tweaking bits and pieces until it becomes a more well-rounded adventure. Until then, I am so pleased to keep adventuring with this awesome party of players and learning more and more as a DM.


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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