4 Mistakes Players Make When Creating New Characters

When you create a character in a tabletop RPG, you should focus on creating a character that’s interesting to you. The most balanced party will grow dull and gameplay will become rote if half the players have been coerced into playing characters they don’t care about. (“Who’s going to play a cleric? C’mon, somebody has to play a cleric.”)

That said, a few character archetypes usually make for dull or frustrating play, even though they seem interesting when you’re first imagining them.

First up: the lone wolf. You know the type: the quiet loner whose parents are dead, who has no friends, who only speaks in monosyllables, who has no contacts in the outside world, who stands with arms folded in a corner of the tavern/bar, and normally doesn’t interact with anyone except to fight in combat.

The problem with a lone wolf lies in its lone aspect. D&D and other fantasy tabletop RPGs build stories about groups, and a character who never interacts with the group, just goes along with whatever they say, won’t be interesting, and won’t be as useful as one that is actually plugged into the world.

Also, because the lone wolf keeps himself or herself aloof from the world, he or she generally doesn’t change. This lessens the drama of the game, since it’s unlikely that the character will learn from his or her mistakes.

Some players leap in the other direction and create the mold breaker. This player builds a character that breaks genre, acts the opposite of the character’s typical class, or otherwise doesn’t fit into the game’s expectations. They create a pacifist child in a combat-heavy game, a goblin who doesn’t speak or understand the Common language, or a cleric who refuses to heal.

Note that I’m not talking about a character that deviates from a classic trope. There’s nothing wrong with a paladin who’s not particularly moral, a wizard who likes to get drunk, or a cleric who focuses more on combat than healing. In contrast, the mold breaker is specifically built as the direct opposite of a particular bedrock of the game.

The problem with mold breakers is that they typically make the game hard for everyone else. The rest of the party now has to protect the pacifist child, or constantly figure out ways to communicate basic information with the mute goblin. It’s like agreeing to play a football game in which the other players have to carry you every time you catch the ball.

A few players want to spice up a game by playing a chaotic evil character in a mostly lawful good party. Their character lies, cheats, steals, and murders at every opportunity. Often, these players use this as an excuse to be selfish. Another character gets a neat item the player wants, so the PC steals it, because “that’s what my character would do.”

The biggest problem lies in the social cohesion point above. This kind of character not only won’t fit the party; it will act in opposition to the party, as surely as placing a gazelle in the midst of a pack of lions.

There’s another problem with this, though: lawful good people stop evil. If being chaotic evil is “just what your character will do,” then attacking your chaotic evil character and killing him or her is “just what the other characters would do.” It’s a great way to create a short-lived character, and to piss off the rest of the group. And to not get invited back.

Again, there’s a big difference between a slightly mischievous character and one sows destruction to the detriment of the party.

Finally, many of us have been guilty of creating the fourth archetype, often as our first RPG character: the blank face. This character is just an average Joe or Jane: neutral in outlook, average in appearance, with an uneventful life, no strong opinions, and no goals.

While easy to play–there’s practically nothing to play–this character won’t be fun. You’ll have nothing special to contribute during conversations. Nobody will remember your character.

The blank face should not be confused with the “potential” character, where a player isn’t sure of his or her character’s personality, backstory, etc. and discovers it in play. The blank face is designed to be generic and bland, to “not get in the way of everyone else’s fun.” But part of the fun comes from everyone interacting, so for goodness’s sake, build something interesting.

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Monster Monday: The Ooz of Unnatural Silence

Ooz by Luis NCT

Ooz by Luis NCT

This formless mass of flesh can tear small animals apart with its tentacles and consume an adult human in less than a day. But that is not why it is feared.

Most adventurers assume this is just a normal ooze. But the Ooz emits a magical, sonic aura that creates a deathly silence all around it. Spells that rely on vocal components fail. Allies cannot coordinate their attacks.

The Ooz prefers to lair in relatively small spaces, so that enemies with magical powers cannot escape its aura of silence.

Some say that each Ooz is the remains of a spellcaster who specialized in aural research, and that a captured Ooz can sometimes be made to communicate with its captors.

 

___
> ## Ooz of Unnatural Silence
>*Large ooze, unaligned*
> ___
> – **Armor Class** 14
> – **Hit Points** 100 (12d10 + 40)
> – **Speed** 25 ft., climb 25 ft.
>___
>|STR|DEX|CON|INT|WIS|CHA|
>|:—:|:—:|:—:|:—:|:—:|:—:|
>|19 (+4)|11 (+0)|19 (+4)|4 (-3)|8 (-1)|9 (-1)|
>___
> – **Damage Immunities** cold, lightning, piercing
> – **Condition Immunities** blinded, charmed, deafened, exhaustion, frightened, prone
> – **Senses** blindsight 60ft. (blind beyond this radius), passive Perception 9
> – **Condition Immunities** groovy, buzzed
> – **Challenge** 6 (2,300 XP)
> ___
> ***Unnatural Silence.*** The ooz projects silence in a 60-foot radius, as if using the *silence* spell.

> ***Multiattack.*** The ooz makes three tentacle attacks.

> ### Actions

> ***Tentacle.*** *Melee Weapon Attack:* +7 to hit, reach 10 ft., one target. Hit: 11 (2d6 + 4) bludgeoning damage.

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Faction Friday: Tolman’s Smart Trolls

Tolman is a halfling with a sense of justice. An ex-adventurer, he now fashions jewelry in a quiet part of a small city.

During his adventuring days, he chafed at the sight of other adventurers leaping to kill every creature they stumbled on, ferocious or docile, and the crude jokes they told about the less “civilized” races. Now, thanks to a bit of luck, he wants to change that.

Tolman was directed to fashion a chain and setting for a magical ruby, the Eye of Torym. This gem can be used to increase the intelligence of several creatures, and it can do this again every day. Its owner was already in debt to Tolman for other jobs when he passed away, with Tolman’s work still incomplete. The owner’s heirs agreed to let Tolman keep the ruby and call it even.

Then Tolman began gathering trolls.

Of all the races in his part of the world, Tolman pitied trolls the most. Strong but admittedly weak-minded, they were hated or feared in person, and ridiculed in private. Surely, Tolman felt, they could be reformed.

So he sought out a troll living in nearby hills, used the Eye of Torym, and offered him a job in his shop’s extremely large basement in return for good food, good drink, and safety. The troll accepted, Tolman taught him to work larger sculptures, then slowly grew his secret work force. He now manages to feed half a dozen trolls in his now very crowded basement, and the proceeds from his sudden increase in productivity often end up in the pockets of neighbors to keep them from asking too many questions.

As a friendly faction, Tolman’s situation grows increasingly precarious. The Eye’s influence appears to weaken the more creatures it affects, and the trolls’ rise in intelligence has not completely dampened their tempers. They grow frustrated, as tasks three of them could accomplish easily a month ago now challenge all six of them.

Tolman needs a more permanent solution to his intelligence problem. He hires the adventurers to harvest spell components from various monsters — owlbear feathers, gibbering mouther eyes, and so forth — for a ritual that will permanently increase the trolls’ mental faculties.

As a foe faction, Tolman is more than a bleeding heart: he feels society should pay for their mistreatment of trolls. At night, he’s been secretly leading one or two trolls on raiding parties, breaking the shutters and smashing the windows of taverns where anti-troll sentiment runs high. He will soon grow bolder, smashing those same establishments to splinters, even beating up the emissaries of noble families who espouse anti-troll (or generally pro-human) rhetoric.

Here’s a map of Tolman’s basement; each square is 10 feet wide. (Source: The basement of the “Wounded Warriors;” its original Blogspot post has apparently been deleted but the image still floats around the web, otherwise unattributed.)

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When to use a “DM PC”

The classic DM PC. 'Julia' by  Magdalena Roeseler

The classic DM PC. ‘Julia’ by Magdalena Roeseler

Let me introduce you to Dale. Dale’s a new Dungeon Master, six sessions into running his first Dungeons & Dragons campaign. He’s a nice guy, who wants his players to have fun.

Dale has a problem. He needs to introduce an non-player character (NPC) who will stick with the party for a while. However, he’s heard horror stories about “DM PCs” that take over the game.

Let’s start with a quick definition. Every tabletop RPG includes NPCs. a DM PC is an NPC that stays with the adventuring party.

In my opinion, there are two times to use a DM PC:

1) The PCs need a guide. They may be entering an completely new environment, and they need a local who can identify dangers. Or, they may need a friendly introduction to politically powerful circles.

2) The PCs need to protect someone. Perhaps they’re escorting a merchant’s daughter to her wedding, or escorting a politician as he or she travels to his new appointment in a distant land, or guarding a noble from assassination.

In both cases, there are two qualities that will keep the DM PC from sucking the fun out of the game:

Keep the character in question within his or her rigidly defined role. The DM PC should be much less effective in combat than the heroes, though some contribution is fine. Also, the DM PC should not be important the plot outside of the temporary help needed to get the PCs to the next stage of the story. In other words, the DM PC should be as important to the story as the abandoned temple that the PCs explore or the boss of the local band of goblins: a vivid character, perhaps, but only relevant within one brief segment of the story, and in specific ways.

Which leads to the second point: keep the DM PC temporary. This character should not stay around for more than a few sessions. Combine this with the character’s limited utility, and he or she won’t take over the party.

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Hit Points Don’t Represent Physical Wounds (Necessarily)

by Frederic C81

by Frederic C81

What does a loss of Hit Points mean?

Some of you already “know” the answer to this, but it bears repeating, and there’s a hidden message.

As the 4th Edition Dungeons & Dragons Player’s Handbook puts it:

Hit Points measure your ability to stand up to punishment, turn deadly strikes into glancing blows, and stay on your feet throughout a battle. Hit Points represent more than physical endurance. They represent your character’s luck, skill, and resolve–all the factors that combine to help you stay alive in a combat situation.

Indeed, some prefer to play under the notion that there is only one successful strike as you lose Hit Points: the one that brings you to zero. Every loss of HP before that point simply represents your gradual loss of stamina, mental acuity, and luck, until finally a blade penetrates your armor and you fall.

Some of you have heard this before. But wait a moment.

If Hit Points can mean more than their surface meaning, what does that imply for your role-play of it? How do you act when your character loses Hit Points? Do you? How might this other interpretation add depth to your actions in combat?

How about healing? Or a nature check? What if those don’t represent exactly what you thought they did?

What existing mechanics can you reframe in a way that adds depth to your character and story?

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How to Run Practically Any RPG Concept with Risus

mashup by Alex Sacui

mashup by Alex Sacui

Ben has a concept he wants to run as a tabletop RPG, but it doesn’t fit any system he knows. It’s a weird mashup of genres.

Ben decides to go for it anyway.

Because the players won’t have crystal clear ideas for their characters, Ben ideally wants to create characters during play. He’d prefer to start with basic character concepts, then define cool things they do as they play.

Then, Ben comes across an article I wrote about running practically any RPG concept in Risus and decides to adapt that to building characters in play. Risus works best with more pulpy genres, which fortunately fits Ben’s concept nicely.

He starts by messaging his players ahead of time about the basic genre, and asks them to think about the look for their characters. He suggests that they think of the look like, say, describing an Overwatch character. No need to get really detailed.

Then, when the players gather for the session, he gives them each a piece of paper and a pencil, and has them write down the look for their character and read it out to everyone.

Ben then explains the Risus system, and tells everyone that each character will have a 4-dice catchphrase, a 3-dice catchphrase, a 2-dice catchphrase, and a 1-die catchphrase.

He asks if anyone has any catchphrase ideas yet. Somebody probably does, so he encourages them to write those down.

Then Ben jumps into the session. He quickly introduces the characters and a big conflict. He asks the players what their characters do.

As players describe their characters’ actions, he encourages framing those as catchphrases. For example, Tracy says her lanky, cloaked character jumps from one rooftop to the next. Ben says, “Oh, so she’s really agile? Do you want to make a catchphrase out of that, like maybe ‘Flies like the wind’?”

If a player faces a conflict and hasn’t filled out any catchphrases, Ben lets the player roll one d6, always against a target difficulty number of 6.

Within 30 minutes, almost all of the characters’ catchphrases are filled out, and the session is rocking along. Ben’s brought his weird genre mashup to the table.

And that’s how you can run practically any genre concept with almost no prep.

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Monster Monday: Heavy Dragonrider Patrols

The feared dragonriders of Elyslanta patrol the skies of their domain, their riders searching for trouble and reporting back as necessary. The Royal Dragonriders maintain both light and heavy patrol units, using younger and older dragons, respectively, for each type.

Heavy dragonriders are only used in the skies around the capitol, or when a serious threat appears in a more remote province. They’re no joke, focusing on destroying their enemies rather than scouting or patrolling.

Heavy dragonriders usually fly in groups of 3 to 5, and begin combat by using their dragon breath, then hang back and throw javelins unless a particularly dangerous foe needs to taste the dragon’s bite and claws.

And here’s the stat block, ready for pasting into Homebrewery:

___
> ## Heavy Dragonrider
>*Large dragon, lawful*
> ___
> – **Armor Class** 17
> – **Hit Points** 130 (14d10 + 53)
> – **Speed** 40ft., climb 60ft., fly 80ft.
>___
>|STR|DEX|CON|INT|WIS|CHA|
>|:—:|:—:|:—:|:—:|:—:|:—:|
>|19 (+4)|10 (+0)|18 (+4)|12 (+1)|11 (+0)|15 (+2)|
>___
> – **Saving Throws** Dex +3, Con +7, Wis +3, Cha +4
> – **Skills** Perception +6, Stealth +3
> – **Senses** blindsight 30ft., darkvision 120ft., passive Perception 16
> – **Languages** Draconic, Common
> – **Challenge** 6 (2,300 XP)
> ___
> ***Multiattack.*** The dragoon makes three attacks, one with its javelin, one with its bite, and one with its claws. Or, the dragoon makes two attacks, one with its javelin and one with its fire breath.
> ### Actions
> ***Javelin.*** *Ranged Weapon Attack:* +6 to hit, range 30/120, one target. *Hit* 9 (2d6 + 4) piercing damage.
>
> ***Bite.*** *Melee Weapon Attack:* +7 to hit, reach 10 ft., one target. *Hit* 15 (2d10 + 4) piercing damage plus 4 (1d8) fire damage.
>
> ***Claws.*** *Melee Weapon Attack:* +7 to hit, reach 5 ft., one target. *Hit* 11 (2d6 + 4) slashing damage.
>
> ***Fire Breath (Recharge 5-6).*** The dragon exhales fire in a 30-foot cone. Each creature in that area must make a DC 13 Dexterity saving throw, taking 45 (10d8) fire damage on a failed save, or half as much damage on a sucessful one.
>
> ### Tactics
> The dragoon will typically begin by flying close enough to use its ***fire breath***, then will hang back while the rider throws ***javelins***. If one enemy becomes particularly dangerous, the dragoon will close and use its ***bite*** and ***claws.***

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Faction Friday: Come See Shortfoot’s Stupendous Circus! (And Blood Cult)

Art by tristram(?) for Diablo III

Art by tristram(?) for Diablo III

A few years ago, the Shortfoot family of traveling halfling tinkers happened upon a clutch of giant lizard eggs (left behind when a group of adventurers attacked a family of giant lizards and both groups perished). They cared for them, hatched them, and turned them into a small traveling circus, which can be used either as a friendly faction that sends the PCs on quests or a foe faction that the PCs need to fight.

As a friendly faction, the Shortfoots have a problem: the magic wand they used to control the lizards has been getting less and less effective over the past few months. They need someone to find a spellcaster powerful enough to restore it to normal working order. Unfortunately, this spellcaster will reveal that the wand can only be restored by the sorcerer who made it: Miralon, who has retreated to her remote tower on the coast, which is itself surrounded by many dangers.

Plot hook: Cyril Shortfoot, the family’s flamboyant patriarch, approaches the PCs and offers them a monetary reward for retrieving the wand.

Plot hook 2: The PCs are tasked to retrieve a different artifact from Miralon, but arrive near Miralons’ tower to find three halflings in the clutches of a pack of monsters (goblins, kobolds, orcs, etc.). Once freed, the halflings will introduce themselves as enterprising members of the Shortfoot family attempting to retrieve the wand themselves. They’ll volunteer to pay the party to escort them into Miralon’s tower and let them have the wand.

As a foe faction, the Shortfoot family are secretly members of a cult to Tharrash, a minor god of wounds and healing. The group requires occasional victims, whom the family members ritually cut in gruesome ways, then patch up and mind-wipe. The victim goes home believing he or she fell into an unusually nasty briar patch, was discovered by the Shortfoots, and healed by them.

Plot hook: The party is in town for a performance by the Shortfoots. They notice one quiet, cloaked figure in the back, not responding to the performance. This individual will eventually introduce herself to the party as Nagi, the 18-year-old daughter of a man who fell victim to the Shortfoot’s foul ritual a few months ago. She was suspicious of the nature of her father’s wounds and has been following the caravan ever since, living off the land. She asks the PCs to help her get into the caravan (perhaps through a distraction) and find out what’s going on.

Investigative PCs will find a small, curved, blood-stained dagger hidden somewhere in each sleeping caravan, and Cyril’s wagon will contain a large chest filled with pages of dark ritual notes and a black orb that absorbs blood.

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I Ran Tomb of Horrors, and It Was Awesome. Here’s How.

Recently, I ran the Tomb of Horrors for a handful of friends. They had a blast, and repeatedly said so. For what it’s worth, Tales from the Yawning Portal hadn’t come out yet, so I used a 5th Edition conversion I found online, combined with the original module.

In pitching the Tomb to the players, I explained that it was very deadly, and that the first characters they threw at the Tomb were unlikely to survive. I further told them that I’d provide pre-gens. I then went online and printed off 30 pre-generated level 10 D&D 5E character sheets from Digital Dungeon Master.

This was the secret: use a bundle of pre-generated characters.

The players arrived, grabbed random character sheets, and spent a minute glancing them over. Then I jumped into the module.

The players began investigating, and soon triggered a tunnel collapse. The first character death came as a surprise, then they grabbed another character sheet and I could see the realization dawn on their faces: I matter more than my character.

We spent two sessions getting through the Tomb, and to give you an idea of how much fun they were having, after the first session the players came to me to schedule the second. I skipped a couple of rooms for time, and one that was just a little too silly and complex for me to run (multiple secret doors in a row, for those familiar with the module).

The players turned into investigation machines. The character became a tool, a thing to inhabit because it’s useful and fun. Sure, you wanted your character to survive, but character death lost its horror.

And that, to me, is the biggest reason to run the Tomb. It teaches players that their characters don’t have to be carefully considered, multi-dimensional characters with complex backstories. It teaches them what it feels like to lose a character, in a context where doing so is expected. It allows their characters to die, and realize that’s okay, because it’s fiction and death happens. And death isn’t scary in a tabletop game because there’s always another character.

 

 

 

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In defense of the Tomb of Horrors

It’s become fashionable to decry the Tomb of Horrors as a paragon of bad design. It’s got things that will kill characters outright. It’s got things that will kill them without a saving throw, even. Surely that’s a sign of bad dungeon design, right?

No, it’s not, given the module’s parameters.

I’m going to give you two reasons why Tomb of Horrors is a usable dungeon. Not necessarily the kind of dungeon you want to run, but a viable one.

  1. This is the resting place of a demi-lich. It’s his Holy of Holies. If someone makes it far enough, they can destroy Acererak. He doesn’t want that to happen, so of course he’s going to make it deadly. But he’s crazy, so it’s a winnable dungeon. Acererak enjoys teasing adventurers with the realization that the Tomb is solvable.
  2. The module explicitly warns you that it’s deadly, and that if your adventurers are hack-and-slashers, you shouldn’t even run the module.

I suspect that much of the online complaints about the Tomb of Horrors comes from groups where the DM didn’t properly prepare the players for the Tomb. If you just spring the Tomb on your players, especially if they’re running beloved characters central to a long-running campaign, you’re not running it effectively.

Again, to be clear, you don’t have to run the Tomb of Horrors. But it can be run in a way that’s fun for all involved.

How best to run it? I’m writing a separate post about that, which also explains what my players learned. Here’s a hint: Use pre-gens.

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