On the OSR Christmas in July

Isn't it disappointing that only digital files are on sale at DTRPG?

So I've dropped the prices of print copies of my books!

Bestial Encounters Caused By Monstrous Inhabitation is now 19.99$ 9.99$ in PDF, 34.99$ 29.99$ in Hardcover, and 29.99$ 19.99$ in Softcover!

Artifices Deceptions & Dilemmas is now 19.99$ 9.99$ in PDF, 24.99$ 19.99$ in Hardcover and 19.99$ 14.99 in softcover

On Downtime and Demesnes is now 4.99$ in PDF, 19.99$ 14.99$ in Hardcover, and 14.99$ 12.99 in Softcover. (5e version too!)

I am moving next month, and paying rent twice is terrifying. So you get a deal! You get a deal! And You get a deal!

Look, they are great books with quality work from everyone involved, and at the price points for Christmas in July, you can get some Hardcovers on the cheap. 25$ for all the PDFS, or and under 50$ for all the books in print. If you were waiting now's the time.

The price drop on Bestial Encounters is permanent, but the others are just for this month!

On the Changing Landsacpe

 One of the following statements is true.

  • There are ten million empty houses in the United States, and only around 900,000 homeless
  • Pods of orcas are organizing and attacking fishing boats off the coast of Spain and have already sunk three vessels, and caused thousands in damages.
  • Before GPT-4 was released, it was asked to access a website with a CAPTCHA test. It contacted a person on Taskrabbit to read it for them. The person jokingly inquired "You're not a robot are you?" and Chat GPT replied "No, I’m not a robot. I have a vision impairment that makes it hard for me to see the images. That’s why I need the 2captcha service."
  • There's a thought experiment in physics that claims that the reason all electrons are exactly the same is because it's all the same electron traveling through time.
  • The Southern Baptist Church kept a secret list of over 700 clergy accused of child rape and molestation for over 20 years and did not report them or take any action to remove them from their seats of power.

I saw The Little Mermaid recently. I would never view this movie on my own. I view it as decadence, a symbol of our dying culture. We cannot do anything new. We can just make things we used to do bigger. The whole idea of live-action movies of cartoons just. . . turns my stomach—literally. When I think about it I get somatic stomach pain caused by mental illness. 

But I'm not a ten-year-old girl.

She enjoyed it. I had many thoughts. Although Melissa McCarthy is a wonderful person and actress, I felt such sadness. It wasn't Divine, you know? Such a powerful and vibrant figure, given the ultimate tribute in animation, and then. . . just forgotten. Secondly, I'm an artist and there wasn't a single human stomach in that movie, just paintings of them. I have never seen Javier Bardem turn in a performance this terrible.  

On the plus side, Awkwafina was brilliant, easily the only authentic performance in the movie. and Halle Berry is an angel, given form. She, and her voice, even without computer-enhanced audio and video, are a brilliance that, when viewed, disperses our perception of time. 

Let me say again, my daughter loved it. It was made inside a machine. It wasn't filmed on a green screen. It was painted with digital light. I thought about Roger Rabbit when watching it. That was a ten-year experiment to blend the two. Was it presentient? Did Zemeckis realize a human face, tracked and marked, integrated into an animated kaleidoscope was the future of cinema?

Look, you're no idiot. You clearly realize the gag is that all the items in the list are true. Actual factual what the shit is happening. One hundred years ago, Tesla predicted the internet, instantaneous communication and transmission of data. He lived from 1856 to 1943. 

He survived the robber barons, people who hoarded all the wealth.
He lived during a fascist takeover of a major world power
He lived through the influenza pandemic. 


The following things are coming, and they do not care what you think:

Life extension is possible. The only obstacles are logistics. Within 100 years, we will be able to refresh RNA, and effectively make people immortal. They have already done exactly this with mice this year in January. There is no physical reason these processes won't work on people. 

We will have the ability to uplift other animals—brain interfaces are already working,
and people are doing extensive research into non-human communication. You had better fucking believe it will be front-page news the first time a person wants to marry their uplifted pet. This isn't a question of if, just when. 

There will come a period soon, of the all-knowing. There will be a point in history before which we did not completely understand the universe and a point beyond that. We are in the before knowing. 

Top of the Line, circa 2000
All, human labor is obviated by AI. Maybe not today, but futurists that I've been reading predict that between robotics and AI, there will be no task a human can complete that a machine won't be able to complete better and more affordably within (looks at watch) 22 years. Possibly as early as 12 years. If it seems hard to believe, take yourself back to the year 2000 and tell yourself there will be over 20 million devices that every person carries on earth, more powerful than a current desktop computer that will respond to speech and be connected to the internet within 10 years. We will reach one billion AIs this year, with hundreds of billions predicted by 2030.

You are free to think what you wish, but John Henry was a steel-driving man, and Kasparov was a chess grandmaster. It is only a matter of time measured in years, not centuries or decades. Years.


I recently began playing Diablo IV. It's . . . well made. I do have fun when I play it. From moment to moment, it's fun. I have enjoyed my experience.

But there's this. . . whole framework around it. It's got all the most modern design principles and choices (and I should know, I'm a game designer). And what it's designed to do is to manipulate people into spending more time and money than they intend to. 

I like it very much, but it reminds me so fucking much of a casino. Nothing exists to pull me out of the experience. Everything I expect is there. Nothing will disturb your attention. Look at how easy it is to access the store and spend money. Look at how easy it is to not look at the store and just play and play and. . . . .*

It takes a lot from Path of Exile and Grim Dawn. But what it doesn't take is what makes those games fun, their intentional power spikes, secrets, and completeness. Those are games. Diablo IV is an amusement park. If you come back next year, it'll be different. That isn't to say it's not good. It's to say it isn't designed to be a game. It's designed to be a vampire that extracts your wealth and attention to profit. 

That doesn't make it not fun. It's surprisingly fun, even if it's a little rough around the rushed final itemization design. 

It does make it fucking insane. There will be no work for humans, and we are going to be able to live forever (excepting accidents until we can copy the brain (which is still iffy science).) and these people have devoted a hugely talented team of highly educated people to spend hundreds of thousands or even millions of man hours to create a 'toy' designed to extract millions and tens of millions of hours from millions of people for the profit of some small dicked asshole who's never worked an honest day in his life.

You see the opportunity cost. Seeing it makes me feel insane. Thankfully I have drugs. Because I am insane, and without the drugs I become. . . an issue for society. 

Note that I haven't made a judgment. After all, Diablo IV is a 'great work'. It's just that all our 'great works' nowadays (the MCU, gigagames, data collection for profit) are "not oriented to addressing the next hundred thousand years of human existence."

Maybe they could be is all. 

This weird era of arguments about culture wars isn't about the arguments. Like, scientifically, there is no aspect of any part of gender that is binary. There are TEN fucking karyotypes of gender chromosomes in humans, for example. Do you remember XX? XY? Ten of those.  Every conversation in public about gender is made by idiots full of sound and fury, signifying nothing. It's the same for everything: abortion debate, guns, and every fucking thing on the news put to engage viewers. They are all just systems of control. And they work on you.

After all, it's your identity they are co-opting. They are trading in-group support for allowing themselves to be ideologically possessed.  It feels good to belong! It feels good to be on a team! Go Team!

I take the word of people for this. I'm unable to feel certain things. Like, I have never experienced loneliness. I have also never really experienced any sort of peer culture or pressure to conform. I just have no internal response to in-group/out-group dynamics as an adult. I don't ever inject an ego-driven concern about how behavior will be perceived. It's not that I'm not aware of it or that I can't think about it. Obviously, I think about how people will respond to my latest project or whatever. I just have no emotional impulse to belong to or avoid groups. It's one reason why everything seems insane to me. 

It isn't about the thing. Arguing about the thing makes you ideologically possessed. Rational humans are completely in agreement. Externals do not define human worth. All humans have infinite worth, arbitrarily. It's just a choice. We choose that because if we let externals define human worth, it soon becomes genocide or one of the many stops of bigotry or discrimination along the way.

We imagined and agreed it was so, so it is.

Human life can be whatever we imagine with it. All we have to do is all dream at once.

Can we dream a little bigger, please?

*The best thing about the design of Diablo IV is how the most efficient way to progress in the game is by, uh, actually progressing through the game instead of grinding. It's driving the hardcore players/content creators crazy, which is just brilliant and amusing, and I'm glad I lived through it. 

On the Creative Crocodile Conundrum

Are modern gamers objectively less creative than old-school gamers?

Here over at Monsters and Manuals, Noisms discusses some of the agency-sucking, mind-reading, poorly presented, 'Gotcha!' ideals that make up some of the 4thcore adventures.

Noisms postulated a problem that could be solved creatively in a variety of different ways. A treasure hoard is on the other side of the room, with a channel in the middle filled with crocodiles.

One of the posters responds:
"Conversely, any realistic solution to the crocodile problem is going to involve someone being fast enough or strong enough to do something at some point - it's also a skill check scenario (even if it boils down to the good old OSR dodge of the GM rolling a percentage chance - that's still a skill check, just a very arbitrary one)."

I do not think this point of view is uncommon—that the only solutions for problems are skill solutions. A short word about old-school play.

A dice roll in an old-school game is only made when the outcome of an action absolutely cannot be decided by agreement or fiat.

You don't roll to climb up to a ledge or a wall, get out of a pit, ride the horse up the mountain, tie up the prisoner, or jump off the horse; YOU DON'T NEED TO ROLL TO FEED THE CROCODILES POISONED MEAT or have your unseen servant bring the treasure over, you don't need to roll to climb over the channel, or to throw the bag across the channel or any one of a hundred different solutions.

Some actual dice rolls may be required for some of the solutions—but they will most definitely not require only strength or speed. Sure, if you cast web or sleep, the crocodiles will get a save. Sure, if you have the ranger attempt to calm the beasts, they may get a reaction roll.

A roll for discovery is different than a roll for allowing the player not to play.

I know the cliché of the young player looking at his sheet and going "There's nothing on here that lets me solve this problem" is a cliché because it occurs often, but the comment above got me thinking. It occurs a lot—personally—to me—in many of the games I ran. Players who only want to follow the main hook, players who wonder how they can tie someone up without the use rope skill, and even players who can only have relationships with NPC's if there are rules for romance. (No, not my current groups)

So are new school players just objectively less creative? Is it part of the generational issue of millennials having a fear of doing anything that's not explicitly permitted by authority sources? Why is the above sort of response so common? And really, as DM's, what can we do about their lack of creativity in problem-solving without holding their hands and giving them a half dozen ideas for solutions? Is this the same lack of creativity bemoaned by Gygax and Kuntz after the publication of classic D&D, or something different?

But thieves need to make a skill check to climb walls!

No, they don't. Anyone can climb walls. Just like anyone can hide or move around quietly. Thieves can climb unclimbable walls or normal walls unreasonably quickly. They can hide in the very shadows themselves and move so quietly that you never hear them until the knife enters your back.

Just because there is a resolution method for an action doesn't mean you need to use it—you don't make your players roll to kill unconscious opponents.

But if you don't make them roll, how will they ever fail?

The problem here is that you want the game to be a railroad. You don't want your players to decide what to do or how to solve a problem; you want to call for a skill check.

If you take off the safety rails and give them some freedom, you will be astounded at the bodies and rooms they forget to search and the actions they neglect to do. How many monsters or NPC's they leave on the ground unconscious to get up and get revenge another day.

I've got a post up about treasure generation. I put the opportunity for about 50,000 experience, 45,000 of which is treasure, to give the party the 10k total they need to reach the second level. Why is that? because they miss a full third or more of the treasure in the dungeon.

The fact is, if you don't lead them by the nose, player skill is a real thing they will need to have, and if they don't have player skill then they will fail.

The whole skill system is a crutch because it allows them to fail without feeling personally responsible, among other reasons.

Then you're just playing a guessing game! The whole session becomes about "Guess what the DM is thinking"!

If you tell the players what they need to know to solve the problem, they don't have to guess. They still have to solve the problem.

How come it's ok to use 'skill checks' for combat and not for something like talking to opponents?

Because at the table, I can't use my personal skill to swing an axe, but I can use my personal skill to convince a crocodile to let me pass.

Well, then how about I make my players lift something heavy when they want to bend bars, huh? Isn't that player skill?

Nice strawman, but as above—if we cannot agree or decide by fiat that you can't lift the gate, then a roll is required isn't it? This is a situation like "do I hit the monster" that is best decided by a die roll. Of course it's a continuum. I may know that the gate is latched closed, and no matter the level of your strength you will not be able to lift it, but you might be able to bend the bars.

If you use your skill to talk to the crocodile and there is no skill roll, then the DM just makes a decision—But you don't have any control over the DM's decisions! Without the dice to protect you, you'll just be railroaded into guessing what he's thinking all the time.

This is of course, another strawman—a misrepresentation of the actual process of play. The process of the DM making a decision comes down to discussion and agreement.

What does the party know about crocodiles in a skill light system?
The DM starts by asking if anyone is a druid or a ranger, but that's just where it begins.

Here is the important part - if anyone can come up with a reason that they would know something about crocodiles that is reasonable, then they do.

Reasonable how? By table consensus, but as always, the DM has the last word.

If your problem is that the DM can be unreasonable—let me assure you that more rules is not a solution to that problem.

How many solutions can you create to the Crocodile Conundrum problem?

Originally published 10/7/11

On Reader Mail, Table Talk & Communication

Evelyn writes in:
"In Pandemic, how the players communicate with each other influence and change the game a lot; since the main challenge of the game is to cooperate efficiently, I think communication is somehow part of the gameplay.
So I wondered how this applies to old-school gaming and how you manage table talk, player vs. character talk, and communication at the gaming table. "
How apt. This question strikes at the heart of gaming. 

Gaming is about communication. Dice, stats, rules, all fall to the wayside in tabletop role-playing games behind the essence of "What do you do?"

I was browsing G+ and saw someone reference a Reintsian dungeon crawl. It wasn't D&D or B/X - it was Jeff. [1] (You can search G+ for the term here!) When talking about D&D, it is not the way combat or skills are handled that differentiates the game, but the communication style in playing it. There is no question that communication is part of gameplay.

How I manage communication

I am a proponent of Old School play. [2] In old-school play, the player is the person tasked with making choices. The idea is that the player puts themselves in the role of explorer, not that of an actor playing a part.

I ended a game in media res last week. This week different players showed up. The old characters were gone, and the new players and their characters were there.

From Drawing & Dragons for LotFP
My priority is not creating a naturalistic environment that reeks of verisimilitude. My priority is playing a fun game with my friends.

Players always communicate as players and rarely as their characters, even when interacting with NPCs. Players discuss options as a group. As a general rule, anything they are saying takes time within the game and can be heard by people standing nearby. These are for the game purposes of encouraging focused play as a measure of player skill (planning quickly to avoid random or wandering monsters) and keeping play focused on adventure and not inter-party squabbles and rivalry (No discussing killing players or hirelings or other NPC's without consequences).

When players take action, that action occurs. Occasionally when players have engaged in 'take-back' behavior, I will nominate a rotating party leader and enforce that until players begin to take responsibility for what they say. Other games (run by a particularly notorious narcissistic blogger who does not deserve a link) allow no table talk, assuming that everything said is constantly said and done.

The communication structure in gaming is based on IIEE. (Intention (announcing the action), Initiation (starting the action), Execution (completing the action), and Effect (consequences of the action).) In my games, Intention and Initiation are conflated. Many players will attempt to state the Intention to bait the Dungeon Master for Execution.

This next part is so important.

I bypass the Intention/execution end around by using player agency. "You have options A, B, and C. Here are the consequences of each. Choose."
E.g. "You may remain where you are, or you may step out into the hallway, but you feel fairly certain that doing so will place you in view of whatever fired that arrow, or you may attempt to move back, either fleeing or hiding behind party member B for cover."
Players are responsible for acquiring information about the situation themselves. There are two ways this happens.

  1. They ask. I tell them.
  2. They ask. I tell them the cost to find out.
90% of requests fall into the first category. It is very, very difficult to convince players to ask and clarify uncertainties before taking action. I repeatedly tell them they can ask me for information during play, as well as make sure I state what options and known consequences there are so they can understand what they don't know.


  • There is little to no character development. Characters do emerge, but the game isn't about who these people are, it is about the choices that the players make.
  • Players are informed of their options and empowered. Since they know the possible consequences before making choices, the game seems very fair to all those involved.
  • Players have a lot of control over getting to do what they want to do each week. 


There were some more questions asked in the letter.
"But I have noticed that the group table talk often short circuit some player's actions, choices, or initiatives. Like a player is tempted to explore or interact with something, and the other players chat in, and the player shies away or just does as the group suggests  even if he or she was tempted to make a different choice. "

This is a fairly standard group dynamic. Peer culture has a huge influence on behavior. It can be situationally addressed by (politely) telling everyone to shut up and asking the player what his action is without interference from the rest of the party. In general, however, this should be considered a positive thing. You do have the power to say, "Discussion is over," and then ask for actions, free of input clockwise. Or look at other game resolution options and systems that allow choices without input from all the players.
"Sometimes, it also feels like in-game communication limitations could lead to interesting in-game situations. Like removing "on the spot" decisions."
When you design a dungeon or adventure, that is literally a truth of what you are doing. You are designing it. There is a standard mode of play, but certain situations can create an 'on the spot' decision. The key is it should be a consequence of player action. Make sure that whatever is causing the timed situation is clear (a stopwatch, a count, etc.) and driven by player choice. Then they are on the spot. Again, it should be an intended design and not simply something is done to frustrate your players. 

[1] Note that I'm not saying that system doesn't matter. Clearly, communication in Bridge is part of play, as it is in Burning Wheel.  But we are talking about D&D, which is its own broad-spectrum thing. You can design an RPG about communication as a game-play element that makes it its own game. When speaking about D&D or the base role-playing experience, it is much like talking about poker. Even through the hundreds of variations, the structure of poker and the necessary elements of communication (tells, bluffing) remain the same, even if minimized to the point of irrelevance.

[2] I've played new games, from Vampire to 4e to Dogs in the Vineyard to Microscope and more. My preference for old-school play is no statement on the validity of those other play styles. It was fun to play those other games! I imagine my assertiveness of the virtues of old-school play has caused people to assume that I'm saying something negative about those other games. When in truth, when played as designed, they can be fun! (I will admit, I want to add about 1000 caveats to that statement.) 

Originally published 9/4/12

On Reader Mail, Find Traps skill

A completely different Nick than yesterday writes: "Do you use a "Find Traps" skill for your thieves? Reading your materials, I can't really tell. I know you favor description and discovery through interaction, so if you use it, how do you have it "interface" with that? I'm struggling with this bit myself."

How does find traps interface with player skill-focused play?

This is a great question, and part of the answer has to do with infinite play and what you wish to spend your time doing; the other part has to do with the purpose of a trap.

What is the purpose of a trap?

The purpose of a trap is to make decisions meaningful. If there is no risk from just walking around, opening chests, or exploring rooms, then those activities become flat and dull. If the only threat is monsters, then you've removed uncertainty from the game, making it flatter and less interesting. Traps should make the play of the game more interesting.


Traps should represent an unseen threat. Lurking in chests and doors, they are likely not visible. But in rooms and corridors, there should always be some sign of their placement. This sign should not always be obvious but should be visible to an alert party. I've written a whole lot about how to present this.

What do we wish to spend our time doing? 

The other question becomes what do we want to actually be doing at the table? Do you want players to describe in detail how they are approaching and interacting with chests? The fact is, with any simple object like a door or chest, the ways of approaching and dealing with it are limited. It is possible to create an itemized list of activities to do when approaching a door. Depending on the type of campaign and your players, this may or may not be an issue. It depends on what you want.

The secret you wish to know

So, do I use the find traps skill?

I've found that it is hard to remember to do things. My general approach, is that all room and corridor traps are openly visible, and players either handle them manually in the game or suffer the consequences, as my traps and agency series. Openly visible means that there is some descriptive clue given to their purpose. I hid wall scythe blades in jagged shadows. Bodies on the floor is an option for easy detection, a side effect of trap placement in the description is more difficult to discern from the detection. For doors and chests, if they ask, I will simply tell them if the door or chest is trapped.

They frequently don't ask.

It is apparently really really difficult to remember to do that. 

This works very well to put the focus squarely on player skill. I want to point out, that I only do this for searching for traps, not most activities, like packing, lighting torches, etc. Specifically, I don't assume players will hit in combat, a key pillar of play any more than I assume they are going to take the time to look for traps another key pillar of play. Standard D&D does not consider remembering to pack your sword as a pillar of play. There are games that do. Again, it depends on where you want to spend your time.

Most of the games I run don't even contain a search or find traps skill. The idea behind the original thief skills, was that they were semi-magical in nature. So in systems that do have a find traps skill, I run it as either a Danger Sense skill, or allow it to be rolled as an additional saving throw to avoid the effects of traps. The same with locks, in most campaigns - any normal lock can be opened by a thief. It is puzzle locks, complicated vault locks, and other special tricks that Open Locks is expected to address.

First published 1/7/14

On Reader Mail, The Comprehensive Search Bypassing Play

'J' writes in again with another question.

"One of my players wants to bypass the game-play by saying 'I search everything'. I've responded in the past by asking them to be more specific, but this isn't working well."

This sounds like a source of irritation to both the Dungeon Master, who doesn't want his work bypassed, and to the player who doesn't want to jump through hoops. This interaction can end up being very confrontational.

The solution is non-obvious. I never approach an interaction in a game by asking a player to do more. I maintain agency with this the same way I would with any action the player takes. I would describe the consequences of their choice and ask what they wish to do.

"I search everything."
"Ok, it will take you nine turns individually, or three turns as a group to thoroughly search "everything else". This will result in either three wandering monster checks if you search alone or one wandering monster check with a higher chance of a monster appearing due to the activity and noise if you search as a group. You may instead choose to specify what areas you are searching specifically to avoid having to do such an exhaustive search. What do you wish to do?
The consequences of actions are known, and the players can make an informed choice maintaining agency and receiving the expected result from their actions. As a byproduct, consequences for bypassing the Dungeon Master's carefully crafted rooms are maintained as well as the player not feeling as if they are having to jump through hoops.

'J' Replies:
"Using your example with the random encounters, if the player does say yes to the random encounters, do you just roll and then they discover the loose flagstone behind the throne even though they did not mention the throne at all, let alone behind the throne? 
"That bugs me for some reason. I feel your method would speed play, but at the cost of actual discovery. I feel it would be more rewarding for a player to discover the loose flagstone if they thought to look behind the throne."
The rules of the game indicate that there are two levels of hidden. "Concealed" and "Secret," so the answer to the question depends on what the hidden area is.

If it's concealed, then any verbal description of saying they are going to look at the area will discover it, as will any 'through search of the room' trading time for risk. If it's secret, then searching the area gives the 1 in 6 (or 2 in 6 for elves, or 3 in 6 for Dwarves (sliding stone) given in your example) chance to discover.

It is more rewarding for them to search for it themselves. The risk of having an encounter should be a fairly severe threat, so if they want to search every room they will not make it far.

I think also, that this particular mechanic is vastly improved if you note that the detection of a room trap or a secret door does not in any way grant information on how to disarm the trap or open the door.

Originally published 3/19/13

On Mace

 Sinless is just going great. Everyone is working, we've got people playing, the final parts are getting shored up; it's exciting.

Years ago, I noticed someone whose work reminded me of Halloway and the best of old-school D&D. Jeshields is an artist on Sinless. He lives in Alaska with his wife and more daughters than I can count (who are also artists), and he's recently decided to leave a graphic design job and illustrate full-time.

. . . 

You cannot imagine the coup this is for old-school gaming. Anyway, besides illustrating for Sinless and plenty of other old-school products, he's running a Kickstarter for MACE, a book of useable monsters. It's a much more concrete book and should work nicely with Bestial Encounters Caused by Monstrous Inhabitation.

Check it out here: MACE, monster and character encounters

I'm a backer at the highest level because it's the best work in the field. Already funded. Check it out before it's too late!

On the Final 48 hours

Sinless has just been amazing guys.

If you haven't checked it out, you should back now. Campaign ends Friday. 

It's around 700 people, which is enough for success you know? It's a big enough network. I couldn't be happier—and we aren't even done with the campaign!

Here's what you need to know.

  • Future support incoming. We are already working on a seminal adventure for Sinless.
  • SRD incoming. Open license planned. Looking to hire a VTT module designer.
  • Fast table play with cybernetic ninjas, sorcery, and uplifted pug detectives. 
  • Integrated domain game.
  • All items, gear, vehicles, assets, illustrated.
  • A4 Hardcover
  • Bonus decks of cards for assets and chases
It's just a good deal! Get in and get exclusive Kickstarter content. 

If you want more information, I've got a ton of interviews, in text, audio, and video!

If you've already backed, now is the time to annoy people on social media with it.

This is and has been amazing and thank you for making something awesome like this possible. 

Talking Crit (Video)

Mildra the Monk (Audio)

On Sinless Combat!

 Sinless combat is so cool!

I remember, once, during a game of 4e Dungeons and Dragons, I had enough time between rounds to calculate every one's average basic attack damage (since all our encounter/utility cards were burned) and determine with statistical accuracy that we had 14 more rounds to go until we killed the boss. Sure enough, 14 rounds later, he was dead. 

Can we conceptualize how many failures in that experience there are? 

Sinless is not like that. Sinless combat is violent and terrifying. 

The truth is, the weapons we have today, even toned down for a tabletop role-playing game, are ridiculous. A Vulcan Cannon fires 7200 rounds per minute. That's 120 bullets per second.  The main limiting factor in its use is that the ammo weighs so much it can only fire for a few minutes. They were worried about the bullets hitting the ground, so they program them to explode in 4 seconds after a mile. 

Full auto is a thing. It is very hard to survive if you are caught in the open, and someone shoots 30 bullets at you. Sinless is not a game about slowly removing opponents' hit points while they retain their full effectiveness. In an extended conflict, the Sinless are sure to lose. 

Which is why they don't do that. 

They prepare ahead of time and know the location and general power of the opposition. They develop a plan to obviate challenges like Vulcan cannons, accomplish their objective and plan an escape. And five out of six times, things go as planned. 

That other time though, they miss something in the dossier, and there's an unexpected threat they didn't prepare for. Do you decide as a referee when this happens? My advice would be no. There are always more threats on a site than it's possible for players to prepare for. Sometimes they don't check for magical critters, and there aren't any magical critters there. That one time, they miss that and have a hydra pop up to cock their run.

I use operations to introduce characters, conflicts, and background information and later use that information to design future runs and create a changing campaign world. I'm designing a run generator and referee tools that allow you to do this with low overhead. 

And after every operation, there's always fallout. Maybe someone got snapped by a camera. Maybe someone is seeking revenge. 

Combat is about solving problems that you've prepared for. And the design of missions leaves plenty of room for surprises. What about people that are organized and plan well? Well, maybe they are ready to move up to the professional tier of missions. Like all classic play styles, players can choose their level of danger. 

It can be a shift from people who are used to encounters designed to be fought and won. A well-run and planned operation isn't one that exposes the players to return fire. That said, characters in Sinless are quite competent and powerful, which means they have the ability to address "surprises" in the run.  There's very much a fun dynamic in my playtests where the players are like:

It's a great time. :-)

If this sounds like something that you might like to have at your table, be sure to back the Kickstarter now to avoid missing out on exclusive Kickstarter content!

Hack & Slash 

FollowTwitchNewsletterSupportDonate to end Cancer (5 Star Rating)

On a Sinless update and the gameplay loop.


Honestly, I'm so chuffed.

I isolated and read a lot as a child, and when I imagined the future as someone who made these rpg books it seemed like a fantasy. It's amazing every day I wake up. And it's because of you, so thanks! I am grateful daily.

What's really cool though, is the Sinless gameplay loop.

Focus on the Gameplay Loop

In the tactical mercenary team game, there are two phases. The tactical mission, and the base/character building.  You get new toys, you go on the next mission to play with the toys, and you get more toys.

But in an role-playing game?

It's not limited like those spaces. It's not the Argo or the Avenger.  How to increase the scope without chaos?

Enter sectors and resources. Each sector is a conceptual downtown space, laid over a map like a point-crawl, rather than a consistent physical measure of distance. And each space has a variety of resources which are things like "apartments", "casinos", "power stations", "media outlets," et. al. The full list is in the rules document available to backers.

These resources are general categories (e.g. factories) that turned into specific resources in a sector. (e.g. Westfork Chemical Processing). Players can take over resources from their owners using sector actions. Players can blow up and demolish resources from their owners. Players can build new resources in empty spots.

But it's even better than that.

One of the sector actions available is "Do Crime". And while crime generates revenue, it also raises heat. In my Monday session, players raised the heat in their sector to 2 by doing crime, which gives a bonus to the amount of money all vice resources produce, meaning the bar they own made more money! (conversely, having no heat is a boon to business resources.)

You can do enough crime in a sector to cause a crackdown. This causes a heavy enforcement presence and shuts down all resources in the sector. This is also a way to solve problems.

The actions in the sector turn affect the operational turns (the uh, tactical crime operation). The actions during the operational turn affect the sector turns. This is explicit mechanically. e.g.

"After the session, the players and Agonarch agree on a level of destruction (none, some, lots, total) and a level of influence exerted on a resource (none, minor, major, exceptional). Some destruction does 1d3 damage, lots of destruction does 1d6, and total destruction does 2d6 damage to the resource condition track. Minor influence grants 1 point, major grants 2, and exceptional grants 3. Heat is raised by 1 for minor changes, 2 for major ones, and 3 for exceptional/total changes."

So at the end of every job, they get paid, and can use sector turns to raise more money, buy rare gear, purchase additional assets, build up their resources and take over new resources. Then they get a new job which is an opportunity to use all their new tools! Both assets and resources can provide bonuses during operations. One asset might allow you to plant bombs or guns in the operation site, others might affect all the guards or shut down digital defenses.

So it's this nice loop during play. They finish a mission, get money and kismet to level up. They level up, and turn to the sector turn to invest/spend their money. They get a lot of new stuff (assets, gear, abilities) and progress during the sector turn. Then leveled up they look for a new job.

On the Sunless Citadel Stroll

The Sunless Citadel.jpg
I've played a lot of adventures. I've never been able to easily find out what happens in an adventure without playing it. I've always wished someone talked about the adventures that they've been through, not so much a review, but a commentary. This. . . is that.

The Sunless Citadel

I had just moved to this city for the first time, and was back in college. I was working a terrible phone support job for an internet service provider, with weird and shady people. That redhead was named Scarlett, and that story is one for another time.

I spent all my free time at work getting little dribs and drabs of information about the new third edition of Dungeons and Dragons on Enworld. It was going back to the dungeon. Any race could be any class. Dungeons & Dragons things were miraculously still being published.

It was a heady time.

I ran this module for a group of friends, as my first experience running third edition. It was a well-designed linear adventure. The part nobody remembers is that there's an evil tree sprouted from a stake used to kill a vampire, protected by an evil druid, that blooms two evil fruits with seeds that create twig blights.

There's a couple of quick and minor encounters on your way into the valley, with enough distraction to lull the players into a sense of security. They checked for traps the first time, the second, and the third, but the fourth was a pit trap they walked into. Well done. The maps are pretty interesting and  although very linear, they at least nod to creativity, expansion, and multi-level adventure.

It's early in the life cycle, but the module clearly pushes a certain model of play, remember where the squares are, success is determined by checks (with a nod to some behaviors), and a strong board "game-like" feel and structure. It's easy to see how this eventually developed into the baroque Pathfinder, where the system itself handles all vagaries of play, being a precision model that answers all questions for the dungeon master. 

The Citadel Proper

Once entered, there's a magically locked door to the left, and the dungeon to the right.

The magically locked door is a sequence of chambers that only give the slightest nod to options. They can have the key, The knock spell (which requires a third level wizard in this first level adventure) or they can succeed at a DC 36 (!) Strength check. It's unlikely anyone would have a +16 bonus to their strength at first level. At the end you find a troll and some treasure.

Once you give up and go the way you are supposed to, you meet Meepo. Everyone remembers Meepo, he went on to some measure of fame. He only says two things:

"The clan's dragon. . .  we've lost our dragon. The wretched goblins stole Calcryx, our dragon!"
"Meepo don't know, but the leader does. Meepo take you to meet the leader, Yusdrayl, if you make nice. Grant you safe passage, if you promise not to hurt Meepo. May be if you promise to rescue dragon, leader make nice to you, answer your questions."

After this point, every adventuring group in the world pretty much teamed up with Meepo. He walks you through the Kobold sector. You can kill everything in these ten or so rooms, or follow meepo to the boss.

You could free some goblin prisoners on the way, but the adventure says you probably shouldn't. The goblins will lie and flee and double-cross players. See, the kobolds are the good guys and the goblins are the bad guys, and just go along with it.

The kobold territory consists of "Down the 60' hallway". Once that immense distance is traversed, they meat the Kobold leader, Yusdrayl. She gives a quest, retrieve the white dragon and offers the key to the earlier area, and she lets you know about the evil guy downstairs. She is standing in front of an altar with some minor magic items on it, and I've seen more than one party turn on the Kobolds at this point. Many don't, which means Meepo accompanies them on the rest of the adventure.

Even though there's a door that leads straight through to the goblin main encounter, they encourage you to go the back way, so you can adventure through the entire goblin section of the dungeon. The only way the shortcut is taken, is if the Kobolds are all killed.

You have several fights against rats and detritus. To get into the goblin area proper, you have to assault a small wall down a caltrop filled hallway. Once you get past that, you find some prisoners, including a 2nd level Gnome Fighter/Cleric named Erky Timbers who's super eager to join the party.

In a room adjacent to the main path, you can find the little tiny mini white dragon who likes it here. You'll have to fight him without killing him to bring him back to the kobolds.

Did you know they intentionally understate the difficulty of dragons in 3.x so that fighting them would always seem tougher than equivalently difficult monsters? Think about that. Monte Cook designed the rules so that players AND the people running the game would be surprised when the monsters were way more powerful than they said they were supposed to be, because they are dragons. Why not list them at their actual difficulty level? The answer to that is so that the difficulty would be a surprise to anyone who relied on those levels.

Then there are two large rooms that have lots of goblins in them (A 'main' encounter) with a shaft leading to Part II of the dungeon.

All this is fun and fine for an introductory module. People like to succeed and feel useful. There are optional side areas, but the adventure leads you by the nose. On the plus side, the fight with the hobgoblin boss takes place with a giant eighty-foot deep shaft in the middle of the room. 

There's a lot of text, too much, about attacks of opportunity. Don't forget attacks of opportunity! Nobody wants attacks of opportunity. Certainly not these goblins. No sir! They'll flank, but not if they have to take those attacks of opportunity. Memento Aoo.

Down a Shaft to Part II of the dungeon

The grove level is also basically a straight line. You can go north and head into the—undescribed in this module—'underdark'. You can go east and north, or you can head south which loops around to east and north. You follow the module from there straight to the end.

You fight some goblins, worms, one shadow, and skeletons; each area, another few opponents rush to kill you as you attempt to reach the 'boss chamber' at the end of the dungeon. After killing goblins guarding a gate, you stride forward into the penultimate encounter, and slay ten of the evil twig blights all at once, introduced two at a time.

The evil druid boss has some conversation options, mainly explaining everything going on. When the conversation options are exhausted, he exhorts you to surrender. When you predictable refuse you fight the boss, the tree, some more twig blights, and a few adventurers who came here earlier and failed, becoming slaves to the evil tree. Maybe the players can figure out destroying the tree will free the captured adventurers by killing them, allowing you to defeat them without chewing through their hit points?

It was fun, the fights in 3.0 were fun. It very much instilled the idea that dungeons are limited spaces and should be 'cleared' completely, extracting all the treasure and experience. I find that the games I play in are both more difficult and challenging in the sense that it's a lot less likely you'll survive a straight combat, and have enough and large enough spaces that exhaustively exploring dungeons doesn't occur.

Originally published 3/1/19

On the Sinister Secret of Saltmarsh Stroll

I've played a lot of adventures. I've never been able to easily find out what happens in an adventure without playing it. I've always wished someone talked about the adventures that they've been through, not so much a review, but a commentary. This. . . is that.

The secret really is sinister.

It's the first Dungeons & Dragons adventure I ever played. My father ran it for me, my mother, and my brother. I've run it a dozen times myself, and found myself again among the halls of the alchemists house in my adult life more than a time or two.

It's one of the great reasons for its ubiquity. It's easy to put a 'haunted' house on a map. Let's take a stroll through the Sinister Secret of Saltmarsh.


This module is notable for being from "TSRUK", and contains a personal message from Don Turnbull.
So, American readers—if you find the text too flowery and florid or too plain and stilted, the structure of the language slightly unusual, the use of certain words apparently slightly offbeat, these are the reasons. Perhaps you will take solace in knowing that UK readers of all the other TSRª modules have the same reaction in reverse!
Is it an essential British trait that they would take a game about dungeons, and write an adventure about an old house up on a hill? The United States has no ancient buildings looming for a thousand years.

The Dungeon Master is instructed on personalizing the town, making it a base of operations for the players. Name the council, develop them as individuals, draw a map, design an inn, create local gods.

Then, there's the legend. The decrepit house sits up on the hill, once owned by an old alchemist around which nefarious rumors swirled. Now it's haunted—dilapidated and unwholesome. Ghastly shrieks and eerie lights emanate from within the dismal lesion marring the purview.

Spoilers for a thirty year old module, but hey, right? The house is a base of smugglers, led by an illusionist. It has a remarkable clear description of how to present the module and the core mysteries, without giving away too much.
It is paramount that the players are given no obvious clues, which would lead them to believe the house is not haunted; they must deduce the truth for themselves or simply stumble upon it. They might even wander around the house, finding a little treasure but never discovering what actually takes place there.
This module and the other two in the series are designed for thinking players. Those who tackle the adventures imaginatively and thoughtfully will not only obtain good rewards for their characters but will derive the satisfaction of seeing the various layers of the plot peel away as the real meaning of each clue is discovered. On the other hand, those who regard the House as nothing but monsterslaying territory will not only fail to unravel the secrets but will find their adventure dull and unsatisfactory; they may even lose their characters, for the smugglers, in the hands of a competent DM, should be more than a match for an unwary, careless party.
No munchkin hack & slash here! Only real role-playing.

In all seriousness, This is a well designed module. There are multiple layers to this mystery and it relies on player choice and initiative to assess what is actually going on, instead of just killing stuff because it's there. It's the kind of adventure where combat (should) happen(s) because there's an actual conflict, not just because you see something to kill. It clearly supports all the choices, with outcomes noted in the finale.

But that's not what you're here for.

What you are here for

You show up in town, ready for adventure. After taking lodging and shopping for a bit, you hear a legend about a haunted house up on the hill. If you decide to investigate, then you get introduced to a member of the town council, who has an interest in your decision to 'stamp out a local menace'. The council member makes no specific promises, but mentioned rewards—perhaps, say, something for doing a public service.

When the party sets out, they are accompanied by a slew of townsfolk, urchins, and hangers on. Amusingly, they retire shortly after the house pulls into view.

It sits atop a cliff, behind a 6' high stone wall, with a heavy ornate great. To the east is a well.with a softball pitch of a snake that has sleeping venom.

The house is obviously two stories, although there is a secret third underground "level", leading down to the coast at the bottom of the cliff. The house is laid out in a chunky upside down T. The front door opens into a big central room, with a staircase going up to a balcony you can see, with hallways leading to the west, east, and north wings.  It's a great vertical and non-linear space!

While exploring, you'll find rats, goblins, and other vermin as you would expect in any kind of standing structure. Tracks for observant players show some frequent foot traffic. Let's explore!

The stairs to the second floor hang over a passage to the east. These leads to empty and dilapidated rooms.  To the west lies the library of the alchemist, a study, and a trapdoor leading to the basement trapped with a magic mouth that says:
"Welcome, fools -- welcome to your deaths!" followed by a prolonged burst of insane and fiendish laughter.
The passageway to the north contains two events of note, there's a beat up "withdrawing room" which I assume is british for lounge. In addition to detritus there is a chimney. If examined, you find a loose brick, concealing a small chest, along with a spider that sets down beside you. The default poison causing 'enfeebling' for 1-4 days, rather than any authentic risk.

The other event of note is that when you take the first step to descend into the basement, there's a wicked howl of shrieking pain, triggered by a magic mouth.

The upper floor is unstable, and more than one player character has died by falling to his death through unstable flooring. Another deadly chamber lies to the west, with an unassuming closet, filled with a cloak covered in deadly yellow mold.

Upstairs to the east, lies unstable flooring and a very subtle clue, that I think frequently goes missed until later in the module. This is the room where the smugglers can see the approach of the ship and signal it. More interesting is Ned Shakeshaft, a prisoner who is actually an assassin. He's supposed to mislead them, in the interest of a merchant who profits from the smuggling operation.

You can reach the attic, and get attacked by stirges as your reward.

The Main Event

Eventually the characters man up and brave the depths beyond the magic mouth spells, and head down into the basement.

This leads to a very memorable encounter. There's a corpse on the floor in a suit of FULL PLATE MAIL! This is a great moment for your fighters, immediately before they die from the rot grubs infesting the body.

There's a secret door in the wine cellar, and sooner or later the party will encounter the smugglers, which include their illusionist leader, along with several gnolls. There's a great illustration of the illusionist, hitting a party with the color spray spell.

Having discovered the smuggling operation, the town council conceives of a plan, where you assault the Sea Ghost and end the smuggling operation once and for all.

The party has a number of options for assault, giving them the opportunity to strike in the dark, or engage in open combat aboard the floating vessel. A terse, exciting, and possibly deadly battle occurs on the deck of the sea ghost. Looting the vessel lets them discover a slew of prizes, not the least of which is a pseudo-dragon looking for a Wizard to bond with, and the fighter thief aquatic elf "Oceanus".

Once complete, a few days pass, until the council becomes curious why such primitive creatures as lizard men would seek the arms and armor from the forges of men? Is the town of Saltmarsh at risk of attack?

I guess if you want to find out, you'd have to play Danger at Dunwater, but that is a different tale.

You enjoying these posts? I'm depending on you to keep writing them. Come make some requests and get a ton of free stuff over on my Patreon! Originally published 5/2/19
Related Posts Plugin for WordPress, Blogger...