The Forest of Doom – a Dungeon World One-Shot

Forest of Doom imageIt’s one thing to blog about prep, but here’s some actually finished prep, ready for you to use yourselves, either as an actual session plan or as a framework. I present to you a ready-to-run one-shot for Dungeon World (DW), adapting the classic Fighting Fantasy gamebook The Forest of Doom.

There’s an awful lot of love for the Fighting Fantasy gamebooks (in the UK gaming scene anyway) – an awful lot of us had our first experience of fighting goblins and exploring dungeons in the paperbacks by Steve Jackson and Ian Livingstone.

In adapting it to Dungeon World, I went with a couple of Fronts about the evil forest and the impending troll army, and tried to sprinkle a few clues into the encounters in the forest in order to make them feel a little less random than the original game.

The download for the notes is here – be warned that it’s very much as many notes as I need to run it, and you might find the previous article to be useful in order to make sense of it.

In terms of how I adapted it, I started by playing through the gamebook four or five times (never successfully, may I add – some of the early FF games are really unforgiving!). I then made a list of the most interesting / iconic encounters, and made them the set pieces for the adventure. It was a lot of fun, and it really sang at the table – all of my players were really into the shared narration part of it, and DW does a great job of creating the camaraderie (in-jokes even) of a group of adventurers in only a few hours of play.

I ran it at Revelation, a convention entirely consisting of Powered by The Apocalypse (PBTA) games in Sheffield, UK. I also ran Urban Shadows, which I’ll blog more about soon, and played in an excellent game of Undying.

Right now, I’m tempted to adapt some more FF books for Dungeon World, since it seems such a good fit. Any requests? And if by any chance you do use this at the table, I’d love to hear about it in the comments below.

Dungeon World One-Shots

Edit: If you’re interested in an actual real-life one-shot set-up, my Forest of Doom setup is available here.

 

I’m mid-way between running a Dungeon World (DW) one-shot, and prepping one at the moment, so I’m thinking a lot about how to make DW hot for one-shot play. John Aegard has some excellent advice here, and I’ve blogged more generally about prepping Powered by the Apocalypse (PBTA) games before, but here’s a few other tips that I’ve developed that are DW-specific. For me, running DW at conventions means I need a bit more meat on the bones of that the PCs will actually do, while still letting them freewheel and develop the narrative situation themselves.

Let them choose

Unlike in other PBTA games, there’s no need to pre-book players in Classes. In other games, the choices they make here have significant impact on the focus of the game and how it plays out – if your Apocalypse World group includes a Hardholder, for instance, you’re going to need to put their settlement front and centre of the action and aggressively threaten and develop it.

In Dungeon World, regardless of the choices made, the players are going to be an adventuring team – so there’s no need to do this. In fact, at the start of play I try to be really explicit that the balance of classes really isn’t important in this game, just to make sure they don’t feel like they need (for instance) a Fighter to tank and a Cleric to heal people. So encourage players to have a free rein in picking their Classes and Races. I tend to restrict mine to the classes in the DW book, just because there’s more than enough there, but if one of the players has a burning desire to play a 3rd-party Class, I’d probably let them.

Pitch your Sitch

For convention games, you usually need to advertise your game in advance, and for that you need to write an exciting teaser trailer for your upcoming game. Get this set in advance and not only can you give your PCs a problem they can’t ignore, but you can also tie them into this story right at the start with link questions.

The game I’m prepping at the moment is riffing off the classic Fighting Fantasy gamebook Forest of Doom by Ian Livingstone, and so to promote my game (and set my situation), I’ve just used the text on the back of the book:

A war is raging and your help is needed to vanquish the evil trolls. To save the dwarfs, you must find the Grand Wizard Yaztromo and track down the pieces of a legendary war hammer lost in the depths of Darkwood Forest, where gruesome monsters lurk.

Now, once this situation is prepared, I write a list of link questions to ask the PCs – at least one per player, but you might want a few more. They ask the PCs about their relationship with this crisis – and allow them to define twists, NPCs, or aspects of the situation within a comfortable framework.

For Forest of Doom, my link questions look like this:

  • You served in the dwarf army before, defending Stonebridge from the trolls. Why did you leave?
  • You’ve wandered Darkwood Forest before. What dangerous beast did you encounter?
  • What have you done to earn the Grand Wizard Yaztromo’s ire?
  • Gillibran, the dwarf leader in Stonebridge, leads a demoralized and divided army. What happened to bring the dwarf military so low?
  • And so on…

I try to make these questions about what has gone before, rather than what is happening now, so that players don’t feel like they might step on narrative toes, and so that I can keep my prep useful. In play, I go through them straight after Bonds.

Fronts, Dangers, and a Map

For a single 2-4 hour one-shot, you’re not going to want more than one Adventure Front. This is the backbone of the adventure, and the closest thing to a pre-determined plot you have. Likewise, your Dangers give structure to the encounters and opposition that the PCs face; without them they might feel they’re aimlessly wandering from monster to monster. For my current prep, that’s pretty much what playing the Forest of Doom gamebook feels like, so I’m especially keen to avoid that!

I’ve not run my Forest of Doom adventure yet, so I’ll publish my Fronts and Dangers separately at a later date to avoid any spoilers for my players, but suffice to say I tend to just follow the procedures on p185 of the DW book, including adding in stakes questions (which might sometimes already be answered by your link questions above).

A lot of the available adventure starters and modules for DW include several Custom Moves for each game. Personally, I try to avoid them – DW does not need new rules for a one-shot. The only time I put them in is when I don’t see an obvious fit with the Basic Moves for how to resolve something – very often one of those moves will fit. They give great flavour in an ongoing game as the party encounters new areas and foes – and ultimately with custom moves, new rules – but I really don’t think they’re necessary in a one-shot.

Forest of Doom map

The Ideal Level of Detail on your map – Darkwood Forest

I like to have a sketch map to put in the centre of the table during play. This doesn’t contain encounter locations or details, but it grounds the players in w

hat they’re doing and makes it feel a bit less like you’re pulling encounters and events out of thin air based on how they’re doing and the pacing needs of the game – which is pretty much what you’re going to be doing, except informed by the Fronts and Dangers. This map from the gamebook is exactly the level of detail I want for my game

 

Set Pieces

In play, I tend to follow the player’s leads, offer them choices as to which paths and routes to take, and respond accordingly. I do like to have 5-6 ‘set piece’ encounters lined up that I hope they’ll take – usually these will be where they find items or clues that move the adventure along. In Forest of Doom, where the quest is to find the lost two parts of a war hammer, obviously two of the encounters will result in finding the parts of the hammer – but unlike the book I’m going to seed clues in the rest of the encounters to show where the hammer might be, rather than rely on random wanderings through the forest.

These don’t have to combat encounters, and should have a number of options to resolve them. You can use linked questions (eg, “Tell me one thing all gnomes hate” when they first meet a gnome) to give narrative control.

You don’t have to use all of them, but they will provide a backdrop of things to use if you suffer the dreaded PBTA “Move Freeze” when an MC move doesn’t immediately occur to you. DW is already pretty forgiving in this – in no small way because it’s easier in the fiction and implied setting to have a sudden change of pace (orcs attack!) to bring up the energy levels at the table and even buy you some time to figure out what’s going on.

So those are my emerging tips for DW one-shots. I’ll conclude by saying that it’s my belief that Dungeon World really is the most forgiving PBTA game to start MCing, and encourage you to try it if you’re at all interested in these kinds of games. I spent several months trying to grok Apocalypse World and Monsterhearts before a game of Dungeon World made me chill the hell out and realise that they were easier to run than I was thinking. What are your top tips for Dungeon World one-shots? And look out for the full prep notes for Forest of Doom after the Revelation convention at the end of February.

The Goblins and The Pie Shop – a 1st-level D&D adventure

Following on from my posts on D&D 5e and review of Xanathar’s Guide, I present for you a light-hearted introductory adventure, showing what happens when you take the classic The Orc and The Pie encounter and try and flesh it out into an actual adventure. Rather than structure it as a dungeon, this is a loosely-structured investigation into what has gone on at Mrs Miggins’ pie shop, and it contains some pre-setup questions that are designed to embed the PCs in the situation and involve them in creating some of the setting and background. The structure of the adventure uses Justin Alexander’s Adventure Nodes.

If you’re looking for a more traditional dungeon-crawling 1st level module, I have to recommend Matt Colville’s The Delian Tomb (the link is a youtube video of him explaining how to design it).

If you want it as a .pdf, you can download it from here. Otherwise, read on!

The Goblins and the Pie Shop

A 1st-level introductory adventure for D&D 5th Edition

Mrs Miggins’ pie shop is the first place any self-respecting adventurer would head to on their way out to seek their fortune in the world… her delicious meat and flaky crust are the talk of every frontier tavern, and many carefree ventures into the wilderness have started here. Naturally, as you venture into the Dark Forest, you’d stop here first… but when goblins have stolen her secret spice mix, you must rush to Mrs Miggins’ aid so that adventurers will be sustained.

This is an introductory adventure for 5th Edition Dungeons and Dragons. It’s designed to take around 2-3 hours to play through, although there are guidelines at the end to condense this to 1-2 hours. It’s balanced for four 1st-level adventurers generated using Adventurer’s League guidelines; again the appendix contains details to scale the encounters for smaller or larger groups.

It is designed to give a simple introduction to D&D5e and fantasy roleplaying outside of a dungeon setting, and to demonstrate how a loosely-plotted adventure can be structured.

Background – DM’s Eyes Only

Symon “The Pieman” has a pie shop in town, and he’s brutally jealous of Mrs Miggins’ success. He uses the same alchemist to ward his own shop – so once he learned how to bypass the magical wardings, he sent his goons in to steal her secret spice recipe. He then paid Holg the Orc to break in and kick about the shop the following day to cover up the theft and make it look like a random goblin raid.

Scene 0: Pre-Set Up

Allow the players to choose characters and introduce them briefly. Explain the starting situation to the players. In brief:

  • They have decided to seek their fortune in the Dark Forest, for the reasons determined previously
  • They are rookie adventurers, having just banded together as like-minded young heroes
  • It is traditional amongst new adventurers to call at Mrs Miggins’ Pie Shop, on the edge of the forest, for some fortifying snacks to take with them on the way to the Forest
  • The forest is dangerous in the centre, but at its boundaries is less dangerous. There are goblins, orcs, and brigands wandering around it though, as well threats the players will now define

They have some background already, but spend a few minutes asking each of them one of the questions from the list below.

  • Why are you venturing into the Dark Forest? What great riches await you there?
  • What is said to guard these riches?
  • What has made you leave your comfortable home to take up a life of adventure?
  • (insert name), you have a mentor, a veteran adventurer. Who is he and what has he told you of Mrs Miggins pie shop?
  • (insert name), a friend of yours growing up was Mrs Miggins’ grandson. What pie filling did he recommend that you just had to try?
  • (insert name), you’re not sure you even like pies. You had one of Symon the Pieman’s pies back in the village and it made you sick. What have the others done to convince you to stop at Mrs Miggins’?

As the players answer these questions, make brief notes of them – if you can, on a big piece of paper in the middle of the table so that all the players can see it. If you can incorporate these answers into the game as it plays, so much the better – and encourage the players to do so as well!

Scene 1: Mrs Miggins’

As they approach the Pie Shop, a tumbledown cottage from which you would normally expect the smell of delicious baking, it is mid-morning and something is clearly wrong. The door hangs ajar from its hinges and the gates to the cottage garden appear to have been torn from their hinges. There are signs of a scuffle inside, and as they approach cautiously, they discover a group of goblins engaged in ransacking the place.

Combat: there are three Goblins (MM, p166), Elg, Melg, and Thom. They wield curved knives as scimitars from the standard stat block, and are extremely cowardly – they will run as soon as they have lost a total of half their hit points – this is 12 hp for 3 PCs, 16 hp for 4 PCs, and so on. Of course, the PCs may well decide to give chase, which will allow them (if anyone speaks goblin) to work out who sent them.

Treasure: The goblins carry only loose change – they carry 15 cp each and their wretched scimitars, and are clad in rough rags.

Mrs Miggins is tied up, badly injured (DC 10 Wisdom (Medicine), or a Spare the Dying / Cure Wounds spell to stabilize, otherwise she will be groggy and uncommunicative, and unable to provide them with any pies), and says that she came down this morning to find the goblins rooting around. She has freshly paid-up magical wards from the Alchemist’s Guild in town, so she was surprised to see them, but they quickly overwhelmed her. There’s no way they could have bypassed those wards – she often finds drunken adventurers trying to sneak in and steal pies, and the wards always knock them out cold.

Any surviving goblins can be easily persuaded with a DC 10 Charisma (Intimidation or Persuasion) check to surrender what information they know. They were tipped off by Holg the Orc to raid the shop, and told there would be no magical defences. There weren’t, and the door was unlocked, which they thought was unusual. Holg oftens throws good jobs to their tribe (the Dark Forest Goblins) in return for odd jobs and help with distracting adventurers. He’s a herbalist who lives not far from here on the edge of the forest. Mrs Miggins knows him as a regular customer, and is very upset if she learns that he has had any hand in the raid. She doubts that he is skilled enough to remove her magical protections.

Mrs Miggins is in shock when it emerges that her secret spice mix has also been stolen – the goblins know nothing about it, but when she checks her cupboards it’s nowhere to be seen. She offhandedly remarks that, while she has no competitors because her product is so good, Symon “the Pie Man” in the village would dearly love to get his hands on her spice formula, and he has been visiting recently asking her about what goes into it – she never reveals anything, and has told him he will just have to devise his own formula! She of course begs the PCs to help her recover the secret spices; she can offer lifetime credit at her pie shop, 100 gp, and also a couple of potions of healing that they can take with them if they agree to help.

A really thorough search of Mrs Miggins’ spice cupboard reveals a scrap of black velvet that has been caught on the side of the wall – and which certainly doesn’t belong to any goblins.

From this point, the players may decide to investigate their leads in whatever order they choose – they can visit the Alchemist’s Guild (scene 2), or head over to Holg’s dwelling (scene 3). Either of these may lead them to scene 4 or to the final confrontation in scene 5.

Scene 2: The Alchemists’ Guild

The Alchemists Guild sits on the edge of town, and it is straightforward to get an appointment with Crawford Ellison, the wispy-bearded wizard who set up Mrs Miggins wards. If persuaded (DC 15 Charisma (Persuasion)) he will reveal that they are standard-issue wards, given to regular business customers, and a DC 10 Intelligence (Arcana) or Wisdom (Insight) check, as they check his records, that the wards only appear to be changed weekly – so that a customer who had the wards installed in the same week could in theory bypass them. If Crawford refuses to talk to them (failed persuasion roll) they can see the warding roster and invoices sat in the back office of the Guild – a DC 15 Dexterity (Stealth) or Intelligence (Investigation) should be enough to find them by stealth and discover the same information.

The customers from the same week include Rezzik the Half-Orc’s Wagon company, The White Lion public tavern, and Symon “the Pie Man” for his pie shop at the edge of town… again, if Crawford is friendly he will reveal that Symon still hasn’t paid for his wards, as he said he had a big business venture coming up which would mean he could pay them off easily. He has also asked for another job to be completed, and they are currently debating whether to ask for the money up front this time – for a small shack further into the forest (“A godforsaken place – that surely can’t be his next business venture, unless he’s setting up some sort of goblin mercenary company haha!”). A sketched map to this shack is held with the other files for the wards, which Crawford will share with the PCs if he is friendly.

Scene 3: Holg the Orc

Holg lives in a isolated, tumbledown cottage deeper into the woods. He’s a solitary herbalist, and while he has no great love for adventurers, he’s no fool. He has had a bad feeling about organising the goblins to raid Mrs Miggins ever since he was party to it, and is keen to try and make amends so he can enjoy her delicious pies again. Holg isn’t easy to persuade, ut a DC 15 Charisma (Intimidation) will be enough to make him share what he knows, or any show of force that shows him the PCs mean business. Once this happens he will reveal that Symon used him as a go-between to get the goblins to ransack the shop

Combat: Holg is a standard Orc (MM p246) with no additional abilities save his contacts and reasonable nature. He surrenders as soon as the combat turns against him – which includes having taken more damage than the PCs have at any time.

  • Symon just said that the magical protections would be down for the day, and asked that Holg go and ransack the place. Holg is quite fond of Mrs Miggins, so he didn’t go himself, but he got the Dark Forest goblins to go, on the condition they didn’t hurt her
  • He knows nothing about the secret spice mix, or even that Symon’s men had raided the shop previously
  • He can give them directions to the shack that Symon has set up in the forest, and everyone knows where the Symon “the Pie Man”’s shop is

Scene 4: The Shack in the Forest

Symon has set this up as a secret laboratory to try and duplicate the results of his theft. The shack is lined with herbs and spices, and different crust mixtures sit in an ice-box alongside packets of Mrs Miggins’ pies. Hidden away in the shelves (DC 15 Wisdom (Perception)) is Mrs Miggins’ secret mix, with the label half-peeled off.

(optional) Scene 4a: Symon’s Thugs

Depending on the time available, the confrontation may take place here (see the listing for Symon and his associates in Scene 5) or you may need an additional conflict to stretch out the adventure. If this is the case, a squad of Symon’s guards arrive to dissuade the PCs to call off their search; they are all human thugs, but one carries a swatch of black velvet on his shoulder which can be seen to be ripped.

Combat: There are 6 Guards (MM p347) and one guard dog (stats as Wolf (MM p341)) who has tracked the PCs here.

Scene 5: Symon “the Pie Man”’s Shop

Symon’s shop is freshly painted a new, but the aroma of pastry that comes from it is stale, and the meat in his pie fillings is under-seasoned. His shelves groan with unsold pies – truth be told, Symon is not a gifted baker, and unless he is able to successfully duplicate Mrs Miggins’ spice mix, it is unlikely that his business will survive.

If the PCs arrive here without solid proof that Symon is implicated in this, he will present himself as a reputable businessman and tell them that the attack on Mrs Miggins is a result of random goblin raids. Only the evidence of the secret spice mix (if they have recovered it from the shack), or compelling evidence like the torn black velvet, will force him into a confrontation, where he and his guards will attempt to silence the PCs.

Combat: Symon is a Thug (MM p350) and he is accompanied by his Guard Dog, Gnash (stats as Wolf, MM p341) and 2 Guards (MM p347).

Treasure: Symon and his men carry 40 gp and 200 sp, and Symon has a potion of greater healing (which he drinks if he has to) and a potion of climbing.

He fights to the death as he realises his entire business empire is at risk, peppering the battle with references to Mrs Miggins’ terrible pies and how she only made her fortune serving dishonest adventurers.

Once dispatched, the town guards will be certain to arrive and take Symon and his men to be imprisoned and tried by the village magistrate. Having rescued the secret spice mix, it is probably time for the PCs to return to Mrs Miggins where she will be fulsome with her praise and generous with her pies!

Appendix A: Running in Less Time

The adventure is designed to run to completion in around 2-3 hours; if you have less time, cut out some of the options for the investigations in the middle of the adventure to have just one of scenes 2-4 happen. Some options are presented below, depending on which lead the players follow:

  • The Alchemist’s Guild will implicate Symon fully in the break-in, and will give them the details of the shack in the forest that he has also asked to be warded by them. They can head over there where they interrupt Symon and his crew and can have the showdown with him.
  • If the PCs go straight to Holg the orc, have Holg spill the whole story as soon as he knows he has adventurers on his back; he has a note signed by Symon asking him to break into the shop, and was given the keys to the arcane wards as well. He is meant to be meeting Symon that afternoon, and will happily take the PCs with him to allow them to ambush him
  • If they go to The Shack, they interrupt Symon and his crew in the process of duplicating the spice mix – once they notice they have been seen they go to attack the PCs to cover up their secret.

In all cases, be prepared to guide and assist the players if they don’t quite follow the sequence of events. The goblins in Scene 1 will readily admit that the place was already broken into when they arrived – and maybe one of them is carrying a prepackaged meat pie from Symon’s place!

Appendix B: Running With More of Fewer Players

The adventure as written is designed to provide a challenge for four players. With fewer (or more) players, use the following table to adjust the number of opponents in each of the (potential) combat scenes:

Scene 2 PCs 3 PCs 5 PCs 6 PCs 7+ PCs
1 – Goblins 1 Goblin 2 Goblins 4 Goblins 5 Goblins 6 Goblins
3 – Holg Give Holg stats as a Goblin (p166) – he is old and infirm 1 Orc 1 Orc 1 Orc and Holg has a pet Wolf as well 1 Orc and Holg has a pet Wolf as well
4a – Guards 3 Guards 4 Guards 6 Guards

1 Wolf

6 Guards

2 Wolves

6 Guards

2 Wolves

5 – Symon 1 Thug

1 Guard

1 Thug

1 Wolf

1 Guard

1 Thug

1 Wolf

1 Guard

1 Thug

1 Wolf

2 Guards

1 Thug

2 Wolves

2 Guards

 

Review: Xanathar’s Guide to Everything (D&D5e)

I’ve been saying for a while that playing, and running, more 5th edition D&D is definitely something I want to do this year; and in this post, I dissected the beauty of random tables and promised a review of the product that inspired them, Wizards’ latest D&D5e supplement Xanathar’s Guide to Everything. Well, here it is. Disclaimer first: I’m hardly the most knowledgeable person to talk about D&D5; if some of the new rules are imbalanced and hazy, I probably won’t have noticed them – other reviews are available, that will no doubt have a different focus to mine. I’m not going to be analysing the mechanical balance and options of each subclass presented, for instance – as usual in my reviews, I’ll be looking in broad brush strokes at what’s useful for one-shot games in the publication.

The Fluff – Roll 1d6 for your next three adventure hooks

While at first glance Xanathar’s contains little in the way of setting information, background or explicit ‘story,’ it is filled with is implicit, flexible background. Each character option and random table populates your game’s world with NPCs, factions, and hooks – and these are yours, not some silent D&D canon. This is a map-free book, but in using the optional rules just for your PCs you’ll find setting leaping out at you fully-formed.

What and how? Well, each background has additional tables, and there are a set randomly-rolled life events for each character. Each class has them; and they’re short and simple, easily picked though and just the relevant ones used. Wizards, for instance, now have three 1d6 tables that they can optionally use to determine what their spellbook looks like, what their mystical ambitions are, and what eccentricities they have developed through their studies of the art.

There’s also a set of random encounter tables by terrain and tier that give a good inclination of what different areas are like. It’s a long time since I’ve used any sort of random encounter table (and my procedure tended to be to roll up 2-3 in advance, make them tied to the world and interesting mechanically, and throw them at players if they came up, rather than rolling directly on them while in play) but they give a good sense for the setting and just what kinds of D&D creatures inhabit each kind of terrain.

Another nice bit of fluff is rules for Common Magic Items, which are cantrip-like magic items that provide small, but useful, functions – like the candle of the deep which never goes out, even underwater. Each one suggests multiple different uses – I can imagine a city beseiged by seasonal storms to have a roaring trade in candles for when the storms come, both from the wealthy seeking to keep their houses well-lit and those wanting to do business under cover of them.

The Crunch – there is a lot of this

Let’s start with the big stuff, the stuff that most readers will go to immediately – there are tons of character options, at between 2-4 new subclasses for each class. Some are familiar (I was pleased to see the Cavalier back, as well as the Kensai , Swashbuckler, and Hexblade) – and some are funkier suggestions (there’s a drunken master monk style, and a samurai). I’d really appreciate these when rolling up pregens for one-shots, as they provide a really clear distinct concept for players to latch onto. Because they’re subclasses, they don’t really add extra complexity to play, either, as they’re a one-off option that replaces other rules options in the class.

There’s lots of new spells, too – and extended trap design rules and systems for downtime. There’s tables and rules for buying, crafting, and selling magic items – not likely to see play in a one-shot, but fills in a handwavey part of play that’s been really poorly supported in previous editions. Back in youth of playing D&D, we’d always be heading back to town trying to fence yet another longsword +1 or potion of feather fall, and it always felt we were at the DM’s mercy as to how generous he was feeling.

There’s a new reading of the encounter design system, which appears much simpler and easier-to-use than the previous one in the DMG. My own experience from building encounters for one-shots right back from 3rd Edition would be to make every encounter harder than the rules say – you’re aiming for exciting, dangerous combat rather than the gradual resource-drain of regular dungeon exploration – and on the face of it this system makes it easier to twiddle those knobs to make that work.

Also there are extended rules for using tools – which I can see being really useful in a one-shot to make non-combat skill use a bit better supported in the game. Each set of tools is also linked to which skills are used with it – and if you’ve got any kind of mystery or investigation, these are good sources of inspiration for where clues might come from.

The One-Shot

Truth be told, most of the use this will see in a one-shot is embedded in the options above, but there are 3 excellent pages in an appendix at the back that are really useful. They detail how to setup and run a shared campaign, and although they clearly are geared towards running Adventurer League games, there’s some useful estimates such as how long combat encounters should take and how you can pace experience so everyone stays on the same page. I’m a big fan of linking one-shots into episodic campaigns, and this gives you most of the tools to do so, as well as sharing GM duties.

In an ideal world, for me this would have been 30 pages, not 3, and maybe explored using D&D for one-shots, different campaign formats (the 3-session minicampaign, sandbox play with a player pool like in West Marches, etc) – ook at structuring games and giving players ownership and genuine choice while also managing your prep (stuff like The Alexadrian’s Node-Based Design) – but hey, if it had all that stuff in, there’d be less for people to blog about, I guess.

To sum up, Xanathar’s brings an awful lot of extra ‘stuff’ to the game, but in a format that makes it pretty easy to drop in bits of it at a time to add to, rather than complicate, your game. I’ve still got a lot more thinking and exploring to do about running D&D5e as a one-shot (and I’ll be posting my thoughts here), but Xanathar’s increases the range of tools available to do so. What approaches or prep have you found useful in setting up a D&D5 one-shot, and am I right in thinking that using supplements like Xanathar’s and Volo’s can add richness without complexity?

The 3-Session Campaign Part 2 – Build to the Finish!

In Part 1 of this series, I talked about setting up and planning a 3-session mini-campaign, with a focus on online play specifically (although most of the techniques are just as applicable to face-to-face play). Here, I’ll talk about what to put in Sessions 2 and 3, and where to shift focus.

Between 1 and 2 – Review, Check Focus, Get Feedback

After Session 1, you’ll have a good idea how well your drafted plot is going to fit into the group of players you have. It’s a good chance before the next session to look at your plans for Sessions 2 and 3 and see if they will fit. Also, if the players have established or given detail to any NPCs or parts of their backstory in Session 1, you should try and incorporate them into the coming sessions, to give them a sense of placement in the world.

I’m terrible (which GM isn’t?) at getting feedback from players, and now is a chance to check in with them if there’s anything they like or don’t like about the way the game seems to be going. If any want to tweak their characters, this is a point where I’d let them, after they’ve seen them in play. I’d also be quite generous with experience and rewards as PC development also makes the campaign feel more epic.

Session 2 – Walk Across Middle Earth and Have Some Fights

As the subtitle suggests, you’re looking at The Two Towers here; characters should be developed enough their personalities should be emerging through play, so this session should be a fast-paced series of challenges and activities that give context for character development and roleplay.

In terms of pacing this session, it’s likely that if you gave the characters multiple options at the end of Session 1 you have to make whichever solution they pick the most interesting, and I don’t think there’s anything wrong with this in this format of game (or, basically, ever – but I think that’s another discussion to have!). By the end of this session, the PCs should be in no doubt that they are approaching the climax of their quest – if your game calls for a climactic confrontation at the end, feel free to end Session 2 just before it – don’t feel you need to save extra content for Session 3.

Session 3 – Final Confrontation, then Jumping on Frodo’s Bed

By this stage, you probably have a fair idea of any subplots that your PCs have developed in advance of the final climactic battle, and it’s a good idea prior to this to have a look through this and try and re-incorporate any loose ends into the session. The majority of this session will be the final confrontation with the ‘enemy’ you have set up, and you should pull out all the stops for this. This is the stage at which you can, and should, put up the “death flag” and be prepared for PCs to make the ultimate sacrifice; leave the players in no doubt that this is the end of the campaign.

But leave enough time for a look at the world after the end of the campaign too, to set it in context and provide some finality for the characters that your players have invested in. It doesn’t have to be quite as corny as the scenes in Return of the King where they all visit Frodo, but short vignettes of each PC’s life immediately following, and perhaps further in the future from, the climax of the adventure help to set the game in context.

Conclusion

So, that’s my plan to get more online play into my life – although most of the plans are taken from running short campaigns in real life. What are your online gaming plans to make finite-length campaigns easy to schedule? Do you have any other preferred methods for online play, or have a favourite medium to use for it? Hope to see some of you at games in the future – either round a table or at the other end of a Hangouts screen!

The 3-Session Campaign Part 1 – stretching the One-Shot format

I’ve blogged before about making the one-shot RPG ultra-short, and also about how a one-shot can be slightly longer form. One of the things I’m pondering as we come to the new year is how I’m going to get more online gaming done next year (via Hangouts / Skype), and I’ve come across the crux of the dilemma (for me anyway, but I suspect a lot of gamers).

Thing is, I don’t have the time to commit to a weekly (or even fortnightly) game – either face to face or over G+ – and so an ongoing campaign seem unlikely. And my own limited experience suggests that one 2/3-hour online session doesn’t quite have the hit of a regular convention one-shot. The medium means you don’t get quite as much contact, even if you’re playing with folks you know in real life, and it takes a while for characters to develop and become enjoyable to play.

So, I’m going to propose myself a solution: the 3-session Campaign. Three 2-hour online sessions, preceded by a not-necessarily-concurrent chargen and setup session. I’m hoping that this format will let me get more online gaming done, and that it might work for people with similar scheduling difficulties to me. I should note that this is advice I’ve largely gathered from my experience running face-to-face for 3-sessions, but I’ve put it in the context of online play because I think it provides a useful solution to the scheduling difficulties above.

The Pre-Session: Chargen and Links

In this session, which I’d go over a chat app like Facebook Messenger or a private G+ community, I’d get my players to generate characters (or generate them myself with their guidance / support if they aren’t familiar with the system) and build links between the PCs. I’d try in generating characters to follow good examples from one-shot play to ensure, for instance, that there are sufficient differences between characters and the group fits together with some consistency, as there won’t really be scope for this to develop during play to iron it out.

While some games have structures for this (Dungeon World’s Bonds, Apocalypse World’s Hx splits) that require some turn taking, the order of these is mostly arbitrary, so there’s no real need for everyone to be online at once – or, if they are, they can be sat doing something else with the phone/tablet at their side carrying out the process.

For games without this process, I’d try and establish connections – maybe with focused questions, which could be as basic as “how do you know X?” or, for instance, “when was the last time you brought a PC back from the brink of death?” (for a cleric PC). While this is going on, I’ll scribble it all onto a relationship map that I’ll then share so everyone has an up-front picture of the rest of the party – it especially helps in online play to know who the face at the bottom of the screen is pretending to be. In terms of sharing resources, for online play I think it’s helpful to have a precis of the setting and access to at least the basic rules so that players can engage with these and be ready to go from the off.

Session 1 – Your Regular One-Shot

The structure I tend to use for 3-session play is the movies of The Lord Of The Rings; for this first section, you’ve already done a substantial chunk of the exposition in the pre-session prep chat. I’d follow the regular introductory one-shot format for this: a task set for them to do, a practice combat/action sequence (to clear out any rusty rules), some investigation, and a final conflict that can be a little harder and reveals the extent of the problem facing them.

Pacing is key here; although in my experience, while online play does demand more focus from the players, the interface encourages it – everyone really does have to listen to every other player speaking, because if you don’t pay attention, you’ll be lost. Any rules clarifications, pass them to another player to resolve in text chat – and feel free to make notes of anything in that chat as well. My best experiences of online play have been basic in terms of technical aptitude – there’s nothing wrong with letting players roll their own dice and telling you what they get, and I’ve enjoyed having that physical connection to the game rather than using a dice roller (until I have a run of bad luck – then I usually switch to the dice roller).

I’d also recommend Session 1 being fairly obvious in terms of what the PCs should do and what the campaign is about. Chekov’s Gun applies here as it does in all one-shots; if you introduce an NPC, a location, or a faction at play in Session 1, if the players are interested in it you should make sure it re-appears in Sessions 2 and 3.

Well, that’s how to set up and run the first session of a 3-session campaign; tomorrow I’ll look at Sessions 2 and 3 and the prep between them.

Xanathar’s Guide to Random Tables – adding story to D&D5e

D&D 5th edition is a bit of a gap in my gaming experience. While it’s hardly explicitly designed for one-shots (for me D&D hews pretty closer to the zero-to-demigod progression than any other levelled game), I’ve had great experiences playing it. It captures the sweet spot of nostalgia and actually working. I’ve never actually run it, but certainly intend to set that right in the new year. And, like Starfinder, it certainly can support one-shot play – a lot of its complexity is hidden in easily-parsed references to older editions!

Storifying D&D: it can / can’t / should / shouldn’t be done!

A common thread about ten years ago on various Indie game communities used to be how to add storygaming elements to ‘trad’ games like D&D. It was met with a range of responses, from the zealous “you shouldn’t bother, just play a game that will actually support what you want to do” to more helpful suggestions, like John Aegard’s excellent piece on making D&D 4th edition a player-led sandbox.

The foundation for story-based games lies in character (or pregen) generation – if you have characters with links to the world and NPCs in it, beliefs and motivations to act beyond money and orcslaying, everything else will come, and feel natural. So after a preorder of the new Xanathar’s Guide to Everything arrived and sparked a guilt about how little attention I’d given 5th edition, I decided to give it a run through.

Xanathar’s deserves a proper review on here when I’ve fully dissected it for one-shot play, because apart from a bunch of sub-classes, encounter design guidelines, additional uses for equipment, it also contains a few pages of shared campaign guidelines (which are absolutely golden if you want to design a one-shot, brief though they are). But what initially caught my eye were the piles of random tables.

A lot has been made of the random tables that have returned for D&D5e, and I can’t get enough of them. Right there, using the ones in the PHB alongside those in Xanathar’s, you can randomly generate characters with rich, punchy backstories. I tested them out by rolling up a 1st level human fighter, Robert (oh yeah, his name was random as well – there’s 18 pages of random name tables at the back of the book as well). The tables for family backstory, combined with the backgrounds from the PHB, have made my ‘standard issue peasant fighter’ into something much more exciting, an army deserter using adventuring to find his estranged father. Don’t believe me – here’s his rough character sheet, with the table results combined with a pre-written backstory (NB: I’ve kept any links to the background and location deliberately vague, with only a dubious-evil Baron for Robert to rage against)

Robert

Race: Human (5′ 7″, 154 lbs)

Class: Fighter

Background: Folk hero

Alignment: Neutral Good

S 16, D 15, C 15, I 11, W 14, Ch 11

Languages: Common, Orc

HP 12; AC 19

Proficiencies: All armour, shields; simple weapons, martial weapons; carpenter’s tools, vehicles (land)

Saving Throws: S +5, D +2, C +4, I +0, W +2, Ch +0

Skill Proficiencies: Animal Handling, Athletics, Perception, Persuasion

Fighting Style: Defense (+1 to AC when wearing armour)

Second Wind: Use a bonus action to regain 1d10+1 hp each short/long rest

Combat: Longsword +5; 1d8+3 slashing. Light crossbow +4; 1d8+2 piercing. Dagger +5; 1d4+3 piercing.

Equipment: Chain mail, longsword, shield, light crossbow (20 bolts), explorer’s pack, carpenter’s tools, shovel, iron pot, common clothes, belt pouch with 18gp, dagger.

 

Origin: Know who your parents are; born at home; no siblings. Raised by single mother (father was imprisoned); modest lifestyle with no permanent residence – you moved around a lot; others saw you as different and strange, so you had few companions

Background decision: A mad old hermit spoke a prophecy when I was born, saying I would accomplish great things

Fighter training: I joined the army and learned how to fight as a group

Defining Event: You broke into a tyrant’s castle and stole weapons to arm the people

Personality: If someone is in trouble, I’m always ready to lend help

Ideal: Sincerity – there’s no good in pretending to be something I’m not

Bond: I have a family, but I have no idea where they are. One day, I hope to see them again

Life Events: A relative bequeathed you a simple weapon, spent time working in a job’

Flaw: I have trouble trusting my allies

 

Born to simple carpenters, the prophecy that the mad gnome Oppleby spoke when Robert was born would prove to be his downfall. His father stayed at home from the work-gang to care for Robert following the prophecy, and though they tried to evade the Baron, Robert’s father was captured and imprisoned soon after by the Baron’s men. As Robert and his mother Emma moved from town to town, earning what little they could from odd jobs and the kindness of strangers, Robert’s heartbreak at seeing his father dragged away led to steely resolve to find his captors and bring them to justice.

Knowing he would need a strong sword arm to bring the Baron to justice, he joined the army, where he quickly became successful as a carpenter in the engineering division while his martial expertise grew. But seeing the lash of his sergeant’s whip on his comrades, Robert fled the army, defecting with his squad after stealing from the company supplies. In the escape his squad-mate Manfred was fatally injured, and he gave Robert the engraved dagger his own father had given him, begging Robert to continue his quest.

Robert found himself again moving from town to town, and making use of what carpentry skills he had, until the opportunity for adventure and making good on his prophecy came to him. He knows he will only bring danger to his mother if he returns to her, but still seeks to find his father, and free him from the Baron’s oppression.

See what I mean? It’s corny, and I guess a little obvious, but the table results just determined that juicy backstory naturally. Later I’ll be blogging here about adapting published adventures, but for a party including Robert you can bet that either (i) the Baron’s men are all over town getting in his way, and/or (ii) the adventure’s big bad has links to the Baron. Have you got any examples of how random tables can develop grabby character backgrounds?