Monday, August 22, 2022

Representing Cultures That Aren't Our Own

I am a white, Midwestern person who presents relatively masculine.  I was raised  middle class Evangelical Christian, and I still have tons of work to do to overcome perceptions and attitudes that stem from privilege and the bigotry I was raised with.  That being said, doing the work to overcome attitudes and perceptions I have that are racist is something I strive for continually, and I would like to encourage and enable the people I influence to do the same.  It's hard. It's humbling. It's frequently embarrassing and uncomfortable and inconvenient, but it's necessary, and (even though this is so far from the point), I truly believe it makes you a better GM and player in RPGs.

    I also want to stress that I am not the expert on this. I am not the voice to listen to when doing the work to overcome the histories of racism, sexism, homophobia, and colonialism that are woven throughout modern society. I'm mostly writing this, because as a white, Midwestern, masc presenting middle class person, it was daunting to even find a door into a space where I could listen to start doing the work, and I want to make those doors easier to find. This blog isn't a guide.  It's an example of what I attempted in a campaign I ran in order to better represent cultures that aren't my own without making them a harmful stereotype or joke. 

    The campaign in question was a Changeling: the Dreaming mini campaign.  I set the expectation that it would be 4 sessions long - it was our first foray into Changeling as GM and players - and I wanted it to be contained.  Prep for this game started almost six months before I ran the game when I was inspired by the Andrew Wyeth painting, Christina's World.  It evoked an image to me of a Selkie on the prairie, far from the ocean she loved.  My brain inserted the idea of her having a saltwater sensory deprivation tank made of metal cow troughs in her garage, and then the plot and other ideas filtered in from there.  I wanted to set it in Montana, found a real town in Montana called Glendive that fit the bill (and had good maps and fun landmarks), and started prepping. 

Christina's World by Andrew Wyeth

    However, since I wanted to set the game in Montana, Glendive specifically, that meant that there were several nearby Native American reservations.  That meant that there were indigenous people in the area with strong ties to their cultural roots, strong and ever present reminders of colonialism, and a ton of other baggage that would invariably tint reactions with outsider colonists coming in and messing in local affairs.  Being aware and recognizing that there was a cultural difference at hand was step one for realizing I needed to do a lot of work, and a lesson for me as a GM to examine the ethnic and cultural makeup of locales where I set my games to see what I need to do. I needed to make sure there wasn't just some Native window dressing or "flavor" added to the game to be "special."  The culture in this area was worthy of respect and representation. 

    Step two came in when I started trying to figure out what indigenous nations were represented in the local reservations.  Most of my research pointed to the Cheyenne being local to the area, and (since this was a game about supernatural stuff), I went to the gaming material to see if there was anything present.  Changeling: the Dreaming has the Nunnehi, Native American types of changelings, and since I wanted that representation in my NPCs, I went to the internet to see what Cheyenne legends were out there and tried to match them up to types of Nunnehi.  It took hours of work, but I settled on the Tunghat Nunnehi being local. I felt it was important to not just have random Nunnehi that could be based on legends from other tribes and nations.  I wanted a Werewolf pack in the area as well as several Nunnehi (alongside several non-native NPCs), and since the Werewolf: the Apocalypse werewolves often have native ties, I decided to tie that pack partially to the reservation as well.  I also added mortal Werewolf Kinfolk and focused on them over the Werewolves themselves. 

    The internet helped me find names (Cheyenne names), but I wanted to make sure they were realistic, so this involved cross referencing names between several websites as well as looking up currently living native authors, artists, activists, elders, and others with those names to make sure they were actually names and not jokes or nicknames or some sort of special or historical name that wasn't used out of reverence or respect.  I also tried for names I could find in videos of actual native people saying in video or audio recordings, and listened to/watched those on repeat to make sure I pronounced them right. That took, again, hours, but it was necessary work.

    Side note, I really love languages in general, and it was so much fun picking up pronunciations and a few phrases of Cheyenne. Also learning a bit about their cultural heritage under colonialism and how it affected their people and culture was heartbreaking and not something I would ever have learned otherwise. 

    All the above work was the easy and least time consuming part.  I needed to get an understanding of culture, and no amount of random articles from Google can give me that. I needed to listen to actual people from that culture.  This is going to sound ridiculous, but Twitter and TikTok were invaluable here.  Following activists and people sharing their culture in those spaces opened me up not just to their concerns and culture, but exposed me to articles and videos they were sharing which were almost invariably more insightful than the ones I found on my own. I even had the privilege of briefly sharing messages with a few people of Cheyenne descent and asking questions about what I was writing for these characters.  I obtained so much information and refining of my NPCs.  More importantly, I was able to drop some money into KoFi accounts and Nonprofits, because the work they were putting in deserved compensation. 

    That was the majority of my six months of prep time. NPCs were created with special attention made to avoid stereotypes (or if they verged on one, making sure they had dimensions that made them people and not just a stereotype).  I practiced speaking as them in my car or while I did dishes, or while I was in the shower. Honestly, I do that with most of my NPCs.  There is a delightful video (starts around 1:20:00) of Aabriya Iyengar, Matthew Mercer, and Brennan Lee Mulligan talking about DMing where they have a long aside about "Voices Time," that, while humorous, really drives home the amount of work it takes to embody a lifelike NPC. Watching my players falter when I slid in a "colonizers" joke I'd heard several Native TikTokers repeat while talking to a Werewolf Kinfolk in the game was a great payoff to the research, but it also changed the tenor of their attempts to relate to the character. 

    And in the end, the characters ended up meeting essentially only 3 of the dozen or so Native NPCs I had created.  There were four and a half scenes (the half was a phone call) where they interacted, but the NPCs felt real to me.  I had honest reactions as them.  I understood and was able to communicate to my players the context in which their decisions were made.  I was able to share parts of the amazing learning journey I had gone on with my friends, and we all learned a little bit about the culture which we were only briefly touching on.

    The important part is that I haven't abandoned what I discovered and learned in those six months.  Those activists and cultural social media personalities I followed haven't been unfollowed now that I don't have an immediate use for them.  Those are voices I continue to boost and support (silently, without inserting myself as an expert).  Now that I understand some of the injustices done to them, I'm better able to speak up when I encounter racism or bigotry over Native concerns. I have more empathy, and am taking that moving forward. 

    I'm lucky to have several Black people in my life who are also gamers, so bringing respectful representations in the NPCs I run in my games takes less overall effort since I have people I can just talk to and don't need to search for information (and have more passive familiarity over all), and in the past several years I've also started passively following, listening to, and researching other cultures.  Again, donating to KoFis and Nonprofits is essential work in regards to this. Part of being a good GM is presenting a world for your players, and, especially since the majority of the games I run are set in variations of the real world, it is imperative not to treat NPCs of cultural backgrounds that differ from your own like a vacation in that space, stereotypes, or set dressing or diversity for the sake of diversity.  

    No world is a cultural monolith. As people who present and create those worlds, not taking into account the differences in those worlds and addressing them with dignity and reverence does a disservice to our players, our work, and especially to those who identify with those differences.  


Tuesday, August 2, 2022

My Top 5 RPGs (Plus 5 Bonus RPGs I love)

 In the over two decades I've been playing tabletop role-playing games, I've played a lot of different systems, editions, and house ruled variants.  Many stuck out because the games I played in them were awesome or I really loved the characters or players.  Some stuck out because the system was fantastic.  Often, those two met in harmony to make magic, but I've found that I almost always have more fun when I enjoy the system.  The following 5 RPGs are my favorites to run and/or play in no particular order.  

#1: Root: the Tabletop Roleplaying Game

    When I was young, I read all of Brian Jaques's Redwall series, and the tales of brave anthropomorphic woodland creatures have been integral building blocks of my love of fantasy. Coupled a world reminiscent of Redwall with a variant of the Powered By the Apocalypse system (one of my all time favorite base systems), this is almost tailor made to be on my list of favorites. The playbooks are all flavorful and have cool abilities, the faction notoriety rules and system of item tags are great, and it lends itself amazingly to one shots, short campaigns, and even longer arcs.  On top of that, the rules are simple enough that it is easy for people new to the system (or even brand new role players) to approach and quickly understand. When I played it for the first time, I was able to pick up the vast majority of the game from my Playbook and two official printed off cheat sheets, and yet buying the books and reading them lent huge amounts of insight to the game.  Additionally, the physical books are digest sized, hardback, and are amazingly bound and high quality.  

#2: Dungeons & Dragons 5th Edition

    This is the basic bitch answer of basic bitch answers, but I really love D&D 5e.  While D&D/D&D adjacent wasn't the first game I ever played, it's been the one I've played the most over the years (mostly 3.5 and Pathfinder 1st Edition), and I do love the specific brand of fantasy that D&D enables.  While I don't use a lot of the canon from D&D due to racial and cultural insensitivities and the fact that I like to wholesale make my own settings, the rules set is relatively easy to understand, it has rewarding leveling mechanics, and a number of bells and whistles that make characters seem enjoyably customizable without being overwhelming. Many of the fantasy substitutions available are either more simplistic or more complicated in ways that I do not enjoy. 


#3: World of Darkness 20th Anniversary Edition

    I'm cheating, because this is actually several games.  One of the first games I ever played was Vampire: the Masquerade, and I've played most of the line since then.  The 20th anniversary edition rules set is the cleanest version of those rules out there, and the hefty core books provide more than ample information to run and play a game without needing to purchase a small library.  The books, as anniversary editions, are love letters from the writers to the players, and they're amazingly written with the full weight of the history of the World of Darkness lending to their gravitas. I do incorporate some (but not all) of the metaplot from Vampire: the Masquerade 5th Edition, because I do enjoy V5, and V5 does have some amazing systems like Blood Dice, but I prefer V20 mostly due to familiarity and the whole thing being accessible out of one book.  I've played Werewolf: the Apocalypse and run Changeling: the Dreaming and Vampire: the MasqueradeWerewolf and Changeling are favorites in one of my RPG groups, and we've woven themes from Wraith, Mage, and even the Revised editions of Mummy, Hunter, and Demon into our games.  Additionally, Vampire: the Dark Ages 20th Anniversary Edition is possibly one of the single best RPG books I've ever had the pleasure of owning.  Some day, I will have a group that wants to delve into its depths with me. 


#4: Beyond the Wall and Other Adventures

    I've been reading young adult fantasy since before I classified as a young adult (I read a lot as a child), and Beyond the Wall is a simplified d20 system young adult fantasy game with some delightful twists.  Character creation is based around a series of playbooks of YA fantasy tropes such as The Nobleman's Wild Daughter, The Witch's Prentice, and The Village Hero that have a guided and easy (and randomizable) method of generating vibrant characters quickly, clearly, excitingly, and collaboratively.  Character creation, even with new players, is a breeze, developing inter character connections and even giving special items or boons.  GM prep is also amazing as the game has a series of zero prep campaign scenarios that can be randomly generated and give a GM pretty much everything they need to run a session or two in about 5-10 minutes or less.  It is one of my favorite game to run one shots at conventions or with brand new players.  


#5: Hunter: the Reckoning (5th Edition)

    While I prefer Vampire 20th Anniversary Edition to Vampire 5th Edition, I love what has been done with the basic D10 dice pool system in 5th Edition.  The original Hunter: the Reckoning also didn't quite hit the same spot of monster of the week Supernatural/Buffy the Vampire Slayer/X-Files genre that I adore running games in. Hunter 5e is an amazingly written, streamlined, easy to understand system that involves the players at every turn.  Desperation Dice are one of my favorite mechanics ever as a GM, and it runs so smoothly from both sides of the GM screen. It has a few hiccups (character maps feeling a touch tacked on with little mechanical significance, for instance), but it has replaced my former go to system in this genre, Monster of the Week, despite my love for the Powered by the Apocalypse system. Part of Hunter edging Monster of the Week out is because of my love for the World of Darkness, but it's a fantastic game in general. 

    I do have a few honorable mentions/rounding my top 5 into a top 10.

  • Monster of the Week is an amazing supernatural horror game in the same vein as Hunter: the Reckoning 5e, and its set up much better for one shots and mini campaigns.  It uses the Powered by the Apocalypse system, which I adore. 
  • Alice is Missing is a GM less silent, text message based RPG centered around players taking on the roles of friends and family looking for a missing girl. It's a one shot and takes about two hours, but its an incredibly deep, moving, and personal game. 
  • Monsterhearts 2 is a modern supernatural horror game about teenagers (think  Buffy: the Vampire Slayer, Vampire Diaries, Twilight, or the Teen Wolf TV show).  Crank the angst to 11, and enjoy the supernatural drama. It also uses the Powered by the Apocalypse system. 
  • 2D20 Games.  Modiphius Entertainment has a series of licensed games like Dune: Adventures in the Imperium and Star Trek Adventures that use their 2D20 system. It's a solid system, and sometimes I like playing my favorite sci-fi games. 
  • Adventures in Middle Earth is the D&D 5e variant of The One Ring RPGTOR is a good game in its own right, but I love the conversion to the D20 5e rules set.  As a life long Tolkien super fan, I am all in on this game, and it manages to capture what is needed in a Middle Earth RPG much better than all previous attempts at a Middle Earth RPG. 

Three Things I Learned from Aabria Iyengar

Aabria Iyengar is a RPG powerhouse, She's DMed 3 of the biggest D&D actual plays (Critical Role, Dimension 20, and The Adventure Zone) in one summer, and DMed and played in tons of other actual plays from NY by Night to Into the Motherlands.  Regardless of her role, Aabria brings a gravitas, goofiness, and amazing capacity for building dramatic scenes. She is someone who is at the top of the heap in regards to Roleplaying Games, so trying to emulate her is tempting.  However, in emulation lies the ways of madness.  Still, great Game Masters and roleplayers have lessons to teach, and here are the ones Aabria has taught me.

Warning, there may be small spoilers for Exandria Unlimited, Dimension 20: Misfits & Magic, and The Zone of Adventure: Imbalance

#1: Be a Stan of Your Players

    No other GM I've watched has openly fangirled (or fanboyed) as hard over their player characters during a game session as hard as Aabria. Watching her eyes light up, hands going to her face as her players make amazing or amazingly stupid decisions is infectious, and you can see the players at her table grow bolder as she encourages their antics.  Too often, GMs end up in an adversarial role, and that can stifle creativity and dampen fun.  

    I first became consciously aware of this watching Aabria running the original Critical Role: Exandria Unlimited.  With a fantastic cast, I found myself cheering and laughing frequently, and noticed that Aabria was as well, but not in the way GMs usually do.  Hers was a fan reaction; she was watching her favorite show with ringside seats.  She communicated fervent excitement over what they were going to do next, and her players thrived in that environment.

    Since then, I've become more verbally excited about my players' actions, and I've noticed a shift in bold decision making.  I've always been lucky with having good groups who go outside the box, but I've noticed them having more fun with it since then.  They love talking about their decisions, and leading the group in excitedly squealing about cool moments in post game wrap ups is a good time for all. 

#2: Involve The Players Even If They Aren't There

    This isn't a skill used all the time, but one that Aabria demonstrated during Exandria Unlimited.  There is a pageant scene when the party is in one of the characters' home towns.  Several members of the party decide to compete in the pageant, but when the other players decline, Aabria informed them that there were cards with NPC contestants at their tables, and while some characters weren't going to participate in the pageant, all the players would be.  This led to one of the funniest and most memorable roleplaying scenes of the campaign (for me at least).

    The concept of handing over NPCs to players like this was mind blowing for me.  In the past I've handed off NPC character sheets during combat, but I'd never completely given over the reigns on a whole NPC.  The note cards in EXU only had names and the players filled in personalities, but since then, I've handed off a few NPCs on notecards with names, a few personality traits, and even some sample stats or dice pools.

    My biggest stretch of this concept (and one I've permanently added to my GM toolbox) was during the first ever session I ran of the new Hunter: the Reckoning game I handed each player a NPC and had them play a doomed hunter cell having the opening interlude first brush with the monster the player characters would be hunting later on.  I told them they would all die during this scene and to play without brakes.  It let the players learn the systems like dice rolling and Desperation pools, operated within the horror genre of someone not involved in the rest of the movie dying in the first scene, and gave them a hint of what was to come. 

#3: Give Them Exactly What They Want 
(Even If They Don't Know What That Is)

    Aabria is a super fan of her players' characters in a fangirlish way, and it is intensely obvious that she is there to write simply THE BEST fanfiction for them.  From giving the players wands in Dimension 20: Misfits & Magic to letting Justin McElroy loose to play a radically different (and yet exactly the same) Taako in The Zone of Adventure: Imbalance to handing out an actual factual Vestige of Divergence in Exandria Unlimited, Aabria gives her players cool stuff and lets them revel with it. 

    This isn't unique to Aabria's GM style, but it is something she seems to go out of the way to do, and making a special effort towards giving the players' or their characters cool stuff adds an almost Christmas Eve level of excitement when players can sense it coming.

    She also isn't opposed to indulgent moments with characters.  Justin McElroy chewed scenery with Taako already in The Adventure Zone, but in The Zone of Adventure: Imbalance, it was obvious he was having a great time.  Giving Amy Carerro's character Opal an entire sequence with her past in the pageant scene in her home town in Exandria Unlimited was a highlight of the series, even though it had very little to do with the plot of the story.  Dimension 20: Misfits & Magic was full of fanfiction-esque indulgence in character relationships, moments, and scenes.  Most players are playing RPGs for fun, and letting them revel in their characters adds a wonderful dimension to the story and builds investment and immersion.

    In my Hunter: the Reckoning chronicle, one of my player's character, Amara, used to date the vampire they're hunting down, and they raided the vampire's haven.  The player had Amara steal a t-shirt, bedding, and a journal.  Later in the session, she retired to a room, reading the journal, putting on the shirt and lying on the bedding so that she could smell him, because she still missed him.  While the journal added some additional info to the hunt, the scene was mostly there for character growth, and it has been a pivotal moment for that character going forward. 

Sunday, July 31, 2022

Elevator Music: Soundscapes and RPGs

Creating a mood during a game session is often pivotal in making memorable moments.  Using background music, sound effects, and ambience is a high risk high reward way of amping up a scene or providing greater immersion.  However, it's something that can go very wrong as well.  The wrong sound or an add interrupting the scene or sound levels being out of whack can draw attention away from the game or even be downright disruptive.  Over the last several years, I've experimented with adding music, and have found several tips and tricks to make it work.

    First, though, how you get the music is important.  I, personally, use Spotify Premium and YouTube through either my phone and a Bluetooth speaker or my laptop.  Spotify Premium allows me to make playlists (and has no adds), and it has a wide variety of music from ambient to popular songs to use to punctuate cool moments. Every song I use in a campaign ends up on a singular playlist for my reference, but I'll often make specific playlists with small selections of songs for sessions. YouTube is mostly for sound effects that run for long periods of time like crackling fires or rain. I know there are soundboards online, iTunes, and several other options that people can use, and with a little software and know how, mixing your own sounds can be rewarding and amazing.  Years ago, I had the pleasure of playing with a musician friend who wrote and recorded original music for his campaign.  It was awesome, but very few people have the know how and amount of time necessary for that. 

    Soundscapes in a game can break down into 3 basic categories: Songs, Ambient Music, and Ambient Sounds.  In my opinion, Songs should be used the most sparingly.  Big orchestral scores, pop music, rock anthems, R&B, and even rap and country can all be useful for creating mood, but they are best used sparingly.  Ambient music is good to use often, but it can become distracting, especially if there is a catchy refrain or build that the players can start queueing onto.  Ambient sounds also are good to use often, but they tend to create white noise that can lull players to distraction.  Finding the best sound for the moment as well as how to use them can be difficult to juggle.

Using Songs
    Using songs can create big, cinematic moments. Using songs can also distract your player and be tonally dissonant. Generally, I tend not to use genres like rock, rap, or pop outside of games with a more modern setting (like Hunter: the Reckoning or Monsterhearts) or games that have futuristic or eclectic settings (D&D: Spelljammer, Apocalypse World, or Scum & Villainy).  I've used everything from folk music, bluegrass, country, and even electronica, industrial, and heavy metal in various games, but it requires specific moments and specific scenes built for a song that you think is thematically appropriate. 
    As an example, I used the song Desire by Meg Myers during a scene in my recent Hunter: the Reckoning game.  One of the characters had previously dated the vampire they were hunting before she knew he was a vampire, and I played the song during a dream sequence during which she and the vampire shared dreams in which she could feel his bloodlust and want to possess her. It lent to a short scene (the song and scene were both only a little over 4 minutes long), but the song made the scene cinematic, which lent itself to the horror TV show feel I've been going for with that game. 
    Earlier in the same campaign, I had Blow the Whistle by Too $hort playing when I introduced a character, saying the song was playing on her radio in the background as they entered her house.  A lot of my NPCs have unofficial theme songs (I often make soundtracks when I get to play to listen to before games to get into character), and Blow the Whistle had the kind of nonchalant swag that I saw that character carrying herself with.  These "theme songs" are songs I often queue up when I introduce characters or have them show back up (or on a few memorable occasions, I have the song play them out as they meet their demise). 
    In a long running D&D game, I often ended sessions with Songs narrating things happening elsewhere in the world as teasers for what was ahead.  God's Gonna Cut You Down by Marilyn Manson memorably was used when I described the intro of some bounty hunters coming to town as the camera panned up them, starting at their boots hitting the dust and ending the song and the scene before I got to their faces.  
    This category is by far the hardest to use, because lyrics can often overwhelm narration and back and forth roleplay.  I've found that songs work best when I have a specific scene I need to hit, and I can queue up my description based on the song, and we can move to other ambient music or sound after the song finishes.  Because Songs are usually part of my scene prep, I usually practice my narration while listening to the Song before the game.  There have been many drives to games where I have a Song on repeat, and I go over my narration over and over again.

Using Ambient Music
    Ambient music is usually orchestral, classical, or non-lyrical folk music.  Soundtracks from movies and TV shows are a great source of material, but there is a risk of players recognizing refrains from movies.  Duel of the Fates from Star Wars: the Phantom Menace or the guitar riff from No Man's Land from the Wonder Woman soundtrack are extremely recognizable, and depending on the group can take them out of the moment.  Ambient music can also be inconsistent tonally.  For example, many of the songs from The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe soundtrack have moments I've long wanted to include in games, but most have long, quiet builds, or character themes mixed in that don't fully meet the tone I want.  
    Similar to Songs, I often queue up Ambient Music to specific scenes.  For example, I wanted the heavy drums and bass choral vibe of Battle for the Hill of Ash from Vikings for the opening action sequence of a D&D game I ran where undead were swarming over a town.  Invocation of the Duke by the daKAH Hip Hop Orchestra was used entering a floating sky casino later in the game and played softly in the background as they started exploring it. 
    Also like songs, sometimes Ambient Music can function as character themes.  In the same D&D game as above, In the Face of Evil by Magic Sword was the theme song of the Necromancer who was the big bad of the campaign, and I ended up playing that song frequently as they faced him, found out about his goals, and also when they faced him for the final showdown. 
    Ambient music and Ambient Sound also have a strange crossover space, especially when using horror soundtracks.  Horror soundtracks often use ambient noise coupled with sporadic music, straddling the line between the two.  Songs like The Basalt Massif by Gustaf Hildebrand and much of the Texas Chainsaw Massacre soundtrack are amazing ambience builders in horror games, but it's hard to fully classify them as songs or ambient noise.

Using Ambient Sounds
    Ambient sound is one of the safest things to use, but it by nature can drone on and lull players to sleepiness if used too long without change.  YouTube is my big source of Ambient Sounds.  Rain on a Tin Roof With Thunder and D&D Crowded Tavern With Music are great to have on in the background during scenes where specific songs don't really fit.  Having Campfire & River Night Ambience queued up while making players make perception checks while on watch can build tension as well. 
    Some of the best unexpected Ambient Sounds I've found are planetary sounds recorded by NASA such as Sounds of Saturn and Saturn's Rings.  Planetary noises are eerie and make for great background noise during tense or horror scenarios.  I use them a lot when I'm running games like Hunter: the Reckoning, Monster of the Week, or even Changeling: the Dreaming when I need to unsettle the players.  The above video of Sounds of Saturn was used to great effect when I had my D&D group's skyship get invaded by a monster that preyed on their nightmares, and I played it almost a full 6 hour session as I had the players go through nightmare scenarios and finally struggle to wake up and defeat the creature. 

    For inspiration, here are a few of the soundtracks I've made for past games I've run.  

Saturday, July 30, 2022

6 Skills for New DMs

Regardless of the game and title, running a RPG for the first time can be nerve wracking.  Even if your players are your good friends you’ve played with for years, sitting in the hot seat can rattle anyone.  There are encounters, backstories, plot, NPCs, and general game balance to all keep track of, and keeping your head above water can be challenging, much less having fun.  As a long time DM and roleplayer, here are six skills I wish I’d learned far earlier in my career and can be applied by DMs, GMs, and Storytellers across a variety of tabletop RPGs.


1: Communication

While it seems remedial, talking to and having a conversation with your players fixes a plethora of issues.  Go to any RPG message board, Reddit, or Facebook group and you will find countless topics basically boiling down to “Someone did something I don’t like; what do I do about it?”  

Do you have a player who isn’t taking the game seriously?  Talk to them about it.  Do you have someone who is making people uncomfortable? Talk to them about it. These conversations can be extremely awkward, but by stepping into a DM role, you are entering a social contract that you are a leader in the game’s social space. Sadly, awkward conversations are part of this.  People you play with might be friends, but if playing with people at a public gaming space (like with people playing through a local gaming store or gaming club), enlisting a shop owner or club president to assist with these conversations can help.  

Less negatively, asking players what they liked and fostering conversation during and after a session can help you figure out if you’re doing well as a DM or if your experimental session didn’t work. Talking to them about their characters and asking for backstories (especially making character backstory creation a collaborative effort between them and you) can make characters fit better into the world and build points of interaction between your story and the characters. This also builds rapport which is helpful if you do have to enter an uncomfortable conversation with a player. 

Not being confrontational or accusatory also helps.  Using verbiage like “behavior like this makes the game uncomfortable” and avoiding finger pointing by not using words like “You” or “Your fault” and framing things as “behavior like this” can help the person better understand the situation without becoming defensive.  Having a Session Zero with clear game expectations and safety tools can help alleviate this as well.  What are those?  Well…


2: Have a Session Zero and Use Safety Tools

If you haven’t heard of Session Zeros and Safety Tools, there are countless articles out there with much more information than I’ll get into with this article.  This article from Drama Dice outlines a lot of really good Safety Tools as well as answers several concerns about using them.  Many games (World of Darkness and most games put out by Magpie) have these baked into the game and devote word count to them. 

It may seem touchy feely to some, but a good Session Zero and Safety conversation is more than just catering to sensitive individuals. These are valuable tools to tell your players about the game, bring them on board with the tone and setting you want, and set expectations around what behavior you want to see at your table (and what behavior won’t fly). Some of the most common Safety Tools are Lines & Veils, Consent Checklists, and the X Card.  

Lines & Veils are a discussion of what you and the players do not want in the game.  A Line is saying “we don’t want to see this theme at all,” and most players are pretty consistent (rape, sexual assault, and child abuse are pretty common).  Veils are things the table wants to avoid, but mentions of them are fine as long as the game doesn’t focus on them or deal with them often (slavery, animal death, and racism are common).  Having this conversation means that people aren’t made uncomfortable (or potentially made to relive traumatic memories) during a previously fun game session.  

Consent Checklists are more formalized Lines & Veils conversations, typically presenting a list of common Lines & Veils on a piece of paper and having people check off what they want in each category and writing in things not present.  

The X Card is for when a Lines & Veils conversation or Consent Checklist fails.  It’s usually a physical card with an X on it on the table or maybe a safe word or hand signal that signifies the player who uses it is not comfortable with what is going on.  It is a sign for the DM to move on from that scene and not take it further (and it is extremely important that the DM honors that).

Session Zero is usually when the Safety Tools are presented to the players, but it is also a great time to discuss a variety of things like the tone of the game, genre you’re going for as a DM, seriousness level, and any house rules you may have.  It’s also a great time for your players to talk and make background connections with their characters which tends to build investment in the game and fosters roleplay and in-character decisions. It also gives you a chance to talk to your players and see what they’re excited for in a game.  You might find they’re all into political intrigue or really into ocean adventures and then you can adapt your plot accordingly to everyone’s benefit. 



3: Remember You Are All Playing the Same Game

This seems reductive to a certain extent, but it can be very easy to get caught up in a Player VS. DM mentality.  While some groups may appreciate the back and forth of pulling one over on each other, an adversarial mindset between the DM and their players creates major issues over time.  You as the DM are in charge of creating and running a game in which all of you have fun. Sure, hitting them with a nasty trap is exciting, but make sure there is a way out or way for them to succeed.  They might not succeed (and the ridiculous player decisions leading to their downfall can be just as fun as if they succeeded), but it is important to remind yourself that your job is not to end them; it is to provide them with challenges.  

I personally like taking this a step further and like to remind myself to “Be a fan of your players.”  Think of your favorite Actual Play, TV show, or Movie.  You want to see the characters face problems or challenges, but you want them to also be badass and overcome things and have cool moments.  Building these cool moments into the game makes it more enjoyable for everyone.  Session Zero and Communication play a huge role here.  If you know what your players like and want and are familiar with PC back stories, you can build these moments more often.  

By all means, force them to face terrifying monsters, kill beloved NPCs, make them regret actions, and even allow characters to die in combat.  All of those can make memorable moments, but at the end of the day, make those things memorable, and remember you are doing that to the characters and not the players.  Make sure you are all on board with the moments created (this is a great topic for a Session Zero), even if they are heavy.  Some of the most memorable media moments stem from tragedy.  Just remember to give them a moment to shine or overcome later on. 



4: Be Flexible and Don’t Overprepare

It’s so tempting to have a complete storyline laid out with 800 NPCs with important backstories and plot lines and ways to interact with characters and encounters laid out to challenge players from levels 1 to 20.  The players, on purpose or not, will invalidate at least 60% of your work within the first 2 sessions and head off to do things you had no plan for whatsoever. What many DMs will say is to prepare some major plot points, major NPCs, and then improvise the rest.  Improv is hard though, especially if it isn’t something you’re used to, but there are a lot of tools to help guide you along.  

My favorite is a list of NPC names, races, occupations, and a 2-3 word “personality” guide that I can mix and match and pull from at the drop of a hat when the players wander off to talk to random guards or townspeople.  I can immediately grab Tynna Kel the Half Elf Baker who is Fussy and Annoyed off my list.  

Another favorite is the location agnostic encounter.  A lot of DMs use random encounter tables, and while there is a charm to them, I generally avoid it (especially for fist time DMs), because pulling a random monster means having to be familiar with an unfamiliar stat block and abilities.  However, if your players are traveling between towns, having a pre-made encounter with a pre-read stat block for a creature you have prepped a fight with that you can plug and play at any point the journey becomes stale is invaluable.  A lot of the time, I have 3-4 of these in my back pocket in case I need to shake things up.  I might not use them for sessions, but there’s always that one week where work was rough or you’re tired, and having a pre-made prepped encounter to just throw in is always fun.  You don’t even have to always have them be combat.  Sometimes it’s fun to just meet random NPCs, and if players like them, that’s a seed for a random fun encounter for later!

Instead of prepping story arcs, prepare plot events.  Don’t have an entire write up of the villain’s plan at every moment of the game.  Instead say “when the players hit level 7, the Necromancer will invade X city with their undead army, causing these effects.”  That way you have a cool fight or scene prepared, kinda like our location agnostic encounters, but don’t have to worry about preparing a million little things that lead up to that which the players might totally have ignored. 

 


5: Let Them Have It!

The single greatest aphorism I’ve ever heard for a RPG is “If it is not interesting if the character fails, do not make them roll for it.”  Does your plot fall apart if nobody notices a clue when searching a house?  Don’t make them roll Perception checks to find it.  Does the dungeon fall apart if the party can’t get across a chasm?  Don’t make them roll for it (or maybe don’t have the chasm there to start).  There comes a point in many games I’ve played in the past where it felt like the DM would ask me to roll to see if my character could walk or remember to breathe.  Dice rolling is fun, but it’s significantly less fun and impactful when there aren’t stakes behind it.

Let Them Have It can also apply to powerful items, or even things like leveling up.  It is fun to have cool stuff, and a lot of players have played low level characters many times.  Watching a party deal with a powerful item (and possibly the villains who want it noticing the party) or even having to come into their own as heroes can be more rewarding than grinding along in a sewer hunting giant rats.  Obviously, there are ways to overdo this, but don’t be afraid to give your players cool stuff. 



6: Know When To End It!

A scene where players are discussing a plan goes on forever, eating up hours of session time.  One of the players is on their phone, not even paying attention.  Another has had 2 bathroom breaks since anyone has taken a meaningful game action.  It’s time to end the scene and have the players pick up in the action.  Sometimes stopping is the most powerful, exciting, impactful thing a DM can do.  The death knell of many a session is the DM saying “just roleplay among yourselves” and nobody has anything impactful to do.

Going back to point number three, think back to your favorite Actual Plays, TV Shows, and Movies.  Conversations don’t always wind down to their natural conclusions, planning sessions might be handled in montage, and we sometimes cut away from important information.  This can be great in a RPG as well.  Blades in the Dark is a fun RPG where heists are a huge focus, and it has the characters start during the heist, not in a planning session, and plans are handled during flashbacks to overcome issues encountered during the heist.  This is a great tool, especially if you have players who tend to over plan mixed with players who find planning boring (if your whole table loves to plan, let them have their fun). 

Social scenes can be awkward as well, or just be useful for small info dumps.  Having a chancellor give information to the characters and then just cutting to the characters acting on that information instead of having them bumble around a castle for several minutes.  Travel too is sometimes boring.  Instead of having them roleplay a 5 day trip between towns, if nothing important or interesting is happening on the way, just say they get to the next town and deduct that many days of rations from their inventories. 

Even just ending a session or taking a break is important.  Sometimes your players completely derail your plans and expectations and make you have to make something up on the spot.  There is no shame in saying “Wow, give me 10 minutes here and take a break. I’m gonna have to figure out what to do with that.”  

Sessions often come to natural endings, and it can be much better to end 30 minutes early than to have to pick up mid combat in your next session.  Using this time to recap, talk about goals for the next session (or the game in general) or even give kudos to the players for certain actions can be a much better use of time than forging ahead.