"Fake Papers" and "Intimidate Lampblacks" countdown clocks

The Training Mission – Blades in the Dark One-Shots Part 1

I’ve been working out how to run Blades in the Dark as a one-shot for a while. The first couple of games I’ve played/run managed to get through character and crew generation, and one score, in the 3-4 hour session, and while that was a great introduction to the game, there were a few things I wasn’t sure about with that

  • character generation is fun and exciting, but crew generation is often not; players negotiate awkwardly with each other and the sometimes over-think choices
  • the setting needs to be explained quickly and concisely
  • factional interactions (in crew generation and after the score) take too long to explain and monitor
  • the pattern of score – downtime – score is a key rhythm of longer-term play; it seems a shame to neglect downtime entirely in the one-shot

With this in mind, I set about working out how to give a satisfying one-shot experience. I used to run a lot of Mouse Guard, which has a similar turn structure, and I used to make sure that I did a GM’s Turn (where they completed the first half of the mission – often this started in media res and there was little chance to prepare or negotiate approaches), a Player’s Turn (where they tried to recover from conditions, and planned for the next mission – which they had a fair idea about from plot threads in the first section) and another GM’s Turn – a more player-led mission where they might have to assemble allies or negotiate approaches, with multiple means of resolution.

With that in mind, my Blades one-shot structure now looks like this

  • Players pick playbooks from a restricted list
  • GM introduces Crew sheet and abilities (already picked, but without a name / hideout)
  • Players play “Training Score” – Race to Gaddoc
  • Downtime activities – simplified and quick
  • Players play a full score – either the starting score or one of Sean Nittner’s scores – I’ve used Gaddoc Rail a couple of times

Does it work? Well, by beginning with a simple score, the players get a chance to learn the ropes of the system and what approaches they can use, which makes the second score much more straightforward – they risk stress, use flashbacks, and really invest to make sure it works. I ran it at Go Play Leeds recently and we managed another score after Gaddoc Rail – which was short and sweet thanks to some really good rolls, but it still gave a sense of progression to the game beyond the “one score and out” approach I’d used previously.

For the playbooks, I reduce the choice to just Cutter, Hound, Leech, Lurk, and Slide – the other two are a bit ‘weird’ and can be a stretch to get the players involved if they aren’t going to stretch it themselves.

The crew are Shadows – probably the easiest crew sheet to get in with – I put the crew sheet down, tell them after the first mission they’ll have a name for themselves, and tick the first Special Ability – Everybody Steals – so they all get an extra dot in Finesse, Prowl, or Tinker.

For the training score – Race to Gaddoc – I have some pre-prepared scenes based on what playbooks have actually been selected. I don’t have to use all of them, but enough to make sure everyone has enough spotlight time – they are pitched at one of the playbooks in particular, but there’s no need for that person to necesarily resolve the issue. The scenes are below (a .pdf with all of the details in one place will be linked in Part 2 when I post it next week).

Race to Gaddoc – A Training Score

  • Explain the starting situation – as a gang of ne’er-do-wells out to make a name for themselves, they have been asked by Lyssa, new leader of the Crows, to transport a rare case of Iruvian Brandy across the city to the Railjacks Guild at Gaddoc Rail. The problem is, she obtained this Brandy by stealing it from the Red Sashes, and the Bluecoats are looking for it as well, so this won’t be an easy task
  • Explain that this is a Transport task, and ask them for their Route across the ciry – they can choose to go by the alleyways and side-streets, or by the rivers and waterways, or they can try and disguise themselves as respectable merchants
  • Don’t allow too much planning, but they need to pick their Load based on the approach chosen
  • They make their engagement roll: 1d for luck, and if they have added anything to the approach which is useful, they get +1d for a better plan. They can also add in their friends or contacts if that’s relevant for +1d (only one friend can be involved)
  • Randomly select who rolls the engagement roll – unless somebody wants the responsibility
  • On a 6, it’s all going swimmingly until the acts below happen – their rolls will generally by Controlled to start with
  • On a 4-5, there are complications – rolls will start at Risky
  • On 1-3, it’s all going wrong – rolls begin with Desperate
  • Select encounters based on the Playbooks chosen as below

 Cutter

  • As they turn a corner in an alley, there are two heavies from the Lampblacks there – they wanted this job, and don’t see why they shouldn’t have got it rather than these upstarts.
    • Controlled: they’ve got their backs to you and are talking about the problem,
    • Risky: you see them sizing you up, threatening you – maybe they can be reasoned with, or at least surprised?
    • Desperate: there’s a knife at your throat before you know it and a threat in your ear. They’ve been tracking you since you left the Crow’s old watch tower hideout
  • Results of failure are likely to be Harm! Either way, they should escape to continue the mission. Also, use the level of success to determine the position for the next roll – if it’s successful, the next roll is likely to be Controlled or Risky, if it’s a failure, it might well be Desperate, and use the fiction to snowball into this

Hound

  • As you round a corner towards your goal, you can see the Red Sashes are tracking the route to the station – there are sharpshooters on the rooftops around the alleys or waterways, and you can see their Iruvian bows glittering in the breeze
    • Controlled: They are patrolling, but haven’t noticed you yet – they should be easy pickings
    • Risky: As above, but you can see they’re watching one another as well, tracking the alley/road/canal you’re coming down – and it’s too late to turn round, and carry alarm whistles – you’ll have to take them out quickly
    • Desperate: One’s looking straight at you, whistle in his mouth and bow at his shoulder about to shoot
  • Results of failure could be Harm, or to start a Red Sash Alert! Clock (4 sections) that can be filled in by future rolls. If it fills, they’ll have the full force of the Red Sashes waiting for them at the Railjack Yard and have to fight their way through

Leech

  • You’ve found the perfect short-cut – just around this building and you’ll have it, you can walk right through the main square without ducking round. But you’ve got an array of construction apparatus blocking your path – maybe it’s time for a little engineering to get through it?
    • Controlled: As above – there’s a web of rickety scaffolding around you, that need disassembling quietly and safely so you can proceed
    • Risky: The scaffolding is rickety and groans as you touch it – and there are construction workers just around the corner moving around – you’ll have to work quickly
    • Desperate: With a sickening crunch your cart is pinned beneath the web of a scaffolding link. There’s a commotion above and you can see hard-hatted engineers making their way towards you to investigate
  • You could start a Bluecoats clock as a result of failure as they are alerted to you, or fill in another clock

Lurk

  • The area of Nightmarket around the Railjack’s yard is crawling with Bluecoats, Red Sashes, and everyone else from Duskwall. You’re going to have to sneak past them to get in – maybe use the rooftops, or the sewers. This is a good opportunity for a Group Prowl roll.
    • Controlled: They are milling around, but they’re not looking for anything in particular – could be you could sneak past in plain sight
    • Risky: They know a shipment is coming in from the Crows and what it is – the case has been reported missing, and there are sniffer dogs around who have the nose for brandy
    • Desperate: They are looking for exactly the group that the Crew represent. It’s rooftops or sewers, or there’ll be trouble.

Slide

  • The Railjack‘s yard is surrounded by customs officials – they’ve had a big shipment of blood in and there’s no way at all that the players can come in for business, or otherwise
    • Controlled: It should be a simple matter of showing your papers though?
    • Risky: There’s Bluecoats and/or Red Sashes moving around as well, talking to the customs men – depending on the state of the clocks
    • Desperate: Behind the man is a hastily-sketched likeness of your Cutter, for this or a previous crime
  • After this, they can deliver the Brandy and update the crew sheet – give them +1 with the Crows and the Railjacks, and -1 from the Red Sashes and the Bluecoats. Take a break!

In Part 2, I’ll talk about the changes to Downtime to make it quick and easy, and how to transition to the second score.

One-Hour One-Shots: Starfinder: Into the Unknown

SF into the unknown picI’ve blogged before here about trying to prep and deliver an effective one-hour introductory game (and attempted to use the #1H1S abbreviation!), so I was pleasantly surprised to find out about the Starfinder Quests packaged together as Into the Unknown (ITU). The link takes you to Paizo’s website, but it’s a free download, and it’s worth a look even if you’re not keen on Starfinder (although you shouldn’t be so quick to dismiss it) – as we’ll talk about here (If you want to see another example of a #1H1S, written by yours truly, head to D101 games and download (also free) Bite of The Crocodile God, my 1-hour game for Hunters of Alexandria).

The product consists of five linked adventures (“Quests”) designed to take an hour of game time for five 1st-level characters (and of course there are pregens available separately – along with some useful guidance about what starship roles they will be most effective at in the ship combats.

The adventures are simple and straightforward – three are ground combats with a mixture of exploration/investigation, and two are starship battles. I can see why Starfinder wants to show off its space combat, but I’d imagine these are the weakest to run on their own – they do just consist of a battle against another starship with a bit of plot context (and it doesn’t sell me on Starfinder – although the system is I’m sure fun – that these will take an hour on their own!)

If I was to run a few of them in sequence, the first three, in which the PCs follow a trail of clues (and a starship battle) to discover a missing starship, is a great 3-hour set, and if you were to run one on its own as a one-hour game, the first one would work well – there’s a good opportunity for roleplay as well as an interesting but relatively simple (as in complexity, not challenge) combat. It’s a good, tight design, and I’ll be stealing the structure to plot out similar traditional games for #1H1S.

Stick to One Set-Piece – but Seed with Roleplaying

With any kind of crunchy system (and see this post for more generic advice), in an hour you will only tackle one rules-heavy scene. That probably means if you’re planning one #1H1S, it’ll be a combat, so try and make it challenging and interesting and build stuff around it. For instance, in ITU’s first quest Station, there’s a neat investigation with an NPC leading to the confrontation, and probably an interrogation afterwards – so the combat is set in a context that justifies it.

Highlight the Best Crunch of the Game

As above, this is likely to be combat, but if you’re allowing yourself the luxury of a set of #1H1S games to piece together, you might like to expand. For instance, if I was planning something with Modiphius’ Star Trek Adventures (and I really should, given the popularity of the franchise), I’d probably want to include some sort of Extended Task scientific challenge for one of the segments – my scenes probably have a starship combat, a science-y extended task, and a ground combat – and maybe another extended task which is a negotiation or similar.

Either way, think about the rules you are showcasing as you prep. I’m sure that the Starship combat is deliberately showcased in ITU, which is why 2 whole Quests consist of an extended space battle. In other games, you might want to show how great social conflict can be (Burning Wheel springs to mind) – so include it if you can.

Episode it up and embrace the railroad

There’s a lot of guff spoken about railroading, especially when it comes to one-shot play, and even more if you’ve only got an hour to play with. Yes, in an extended campaign, forcing your players’ hands either explicitly or on the sly is certainly not good practice, but it’s necessary – advantageous even – in a one-shot to guide the players towards the good bits.

Also, try and make each #1H1S a complete and distinct chapter. This isn’t always easy, and it’s a stretch for some of ITU’s sections (I’ll come back again to the starship combat sections – yes, starship combat is a neat system in Starfinder, but I can’t see why you wouldn’t just play X-Wing for an hour if that was your jam).

Go forth and #1H1S

I must admit, since posting about them last year, I was a bit stymied about the #1H1S project – but finding ITU has got me seriously thinking about them now. Watch this space for further developments – and probably ready-to-play modules – and feel free to comment or contact me to suggest or request systems. As I said, Star Trek Adventures feels like a good fit for it. And let me know if you’re doing anything with them yourselves!

Hillfolk One-Shots

Hillfolk_Cover_reduced1Hillfolk is an amazing RPG. I’ve normally got a bit of a problem with what can be seen as “stone soup” RPGs, where the mechanics are limited to almost nothing, but there are two exceptions I make. One is Fiasco, where the complete absence of a resolution mechanic forces players into a hard director stance – you’ve got to embrace the feel of the films you are emulating and push your protagonists into difficult situations. And the other is Hillfolk. Hillfolk is a quieter, more contemplative kind of game; every time I’ve run it we’ve hit pathos, character development, and difficult decisions. And it does that because you don’t have to think about hit points.

 

It’s also a game that, unusually, benefits from a larger player group than I’d normally pick (I think the sweet spot is 5-6), and is explicitly designed for campaign play. But, like every game designed for campaign play (see my series on Powered by the Apocalypse games), with a few tweaks and procedures you can get a satisfying one-shot experience from it.

Skip Character Generation

Character generation in Hillfolk is awesome. It’s a whole session of setting up your series, where you’ll develop themes, dramatic poles, and potential story arcs. It takes a full 3-4 hour session. It does not benefit from being shortened. Instead, I’d recommend skipping it and setting up a tight initial situation yourself. There’s loads of information in the Series Pitches supplied with the game to develop your own with a little research, or there are some great ones already done. If you’re looking to run your first Hillfolk one-shot, I can’t recommend enough picking up Jon Cole’s character packs from the Pelgrane website (here, towards the end of Forms). There’s also a set of playbooks for The Secret of Warlock Mountain on the same site. And tons of advice and support; seriously worth a read.

Start with the Ensemble

Begin with a scene where (much like my advice for Urban Shadows) all the protagonists are present, and a looming threat emerges. This helps to coalesce the players towards working in one direction, even if PvP develops naturally. The classic Hillfolk set-up is that a nearby village has burned down your grain store, or the ailing Chief seeks a successor, but you can pick your own for the Series Pitch of your design. For my Hollywoodland game, I start with a party with all the protagonists present and have a police chief (either Charles Sebastian, or, if he’s a PC, a rival cop) shut it down and state that with the mayoral run coming up they’ll be coming down hard on the drugs and booze excesses of the movie industry. Depending on their reaction, one or two of them could get arrested, and you’re good to go. My own Hollywoodland start-up is a bit less flexible than the two examples linked, but that’s in part because the players are portraying real(ish) historical figures.

Listen, Prompt, Be a Fan

Because scene calling happens in rotation, your players will need to be ready to call the next scene. Give them the time and space to do this, and try not to prompt them too hard – I try to repeat the classic improv mantra that the most obvious thing to do is usually the best thing, and that they needn’t try to be original or flashy – the awesome will come naturally. If other players aren’t convinced of this, model it – be a fan of everyone’s scenes, and if you have players who haven’t played before you’ll see them blossom before you as they grow into the system, even if they’ve never played before.

Sample Set-Up

Here’s my own set-up for a Hollywoodland one-shot. Hollywoodland is a series pitch by Jason Morningstar set in the incipient movie industry of 1914.

I hope it’s useful to you, either to run yourself (and let me know how it goes!) or as a model for how to develop a one-shot set of characters for Hillfolk. I’ve tried to include as much detail as I can while still leaving the overall plot and scenes up to the players – there are scene notes and ideas for what to do to further their interests, and enough imbalanced relationships to hopefully lead to some slow-burn confrontations.

Bear in mind that the set-up can go to some difficult places, particularly if the film Birth of a Nation ends up being a backdrop, so I’d strongly recommend using an X-Card with this game (and almost any game with shared narrative authority that has any chance of similar things happening).

Afterword

I’ve got a few one-shot advice posts up now – for Dungeon WorldThe ‘Hood, Fate, Urban Shadows – as well as a piece on general “crunchy system” prep. I’ve got one-shot advice posts for 7th Sea (2nd edition) and 13th Age in the pipeline already, and I’m running Tenra Bansho Zero next month and will certainly blog about that, but I’m open to requests – what systems (even those that everybody says never work in a one-shot) would you like to hear about? Just tweet me or put it in the comments section.

Urban Shadows One-Shots

Urban Shadows (US) is Magpie Games’ Powered by the Apocalypse (PBTA) game of urban fantasy; if political manoeuvrings with wizards, vampires, and demons is your jam, it’s a great game. It’s a great game whatever, actually, which is why I’ve developed a few tips  for one-shot play that should help you if you want to bring it to a one-shot table.

I’m going to present this in two stages – what you do before it hits the table, and what you do at the start of play. Note that the book does have some great advice for one-shots in it already, but I’ve extended some of the advice to hit my particular sweet spot between player-driven and GM-prepped narrative. If you’d like more details on running PBTA one-shots generally, there’s a post here, as well as specific advice for Dungeon World.

Before Play

Pre-select Playbooks

You can make things easier for yourself by restricting the playbook selection for your players. This has two advantages – one, you avoid any chance of selection paralysis at the table, and two, you can focus your prep towards the playbooks selected. One from each faction is ideal – and I’d go with The Aware, The Vamp, The Tainted, and The Wizard for my choices – the Hunter has potential for some nasty PvP that some of your players may find uncomfortable, and The Fae has to keep track of promises as well as Debt which can be fiddly. If you have players pre-signed or know who’s going to play, you can let them pick, of course – but this helps to focus your thoughts on where they will be relevant. If you haven’t got anyone playing the Vamp, for instance, you don’t need to think about complex vampire politics.

Pick a City

Either use one of the cities already developed in Dark Streets, the setting sourcebook for US, or come up with one yourself. All you need for this is a defined group for each of the factions – for instance, when I wrote up Manchester 1997 for the Revelation convention I had the City Ghosts as my Night faction – a group of industrial-age spectres that keep the city surviving, and The Bridgewater Club as a group of hunters and graverobbers who sought to maintain the status quo – and represented the Mortality faction. If you’re able to, you could share your city write-up with your players in advance of the session. It’s also useful to develop broad brush strokes of one NPC for each faction. You need to be careful about introducing too many NPCs in your one-shot, but it helps to have some to start with so the players can generate them. Resist the temptation to have more than one NPC for each faction! Your players will generally invent more of them, and you can always create more on the fly for them if you need to.

Think of a Bang to Start With

Before play starts, think about an unavoidable event that can be happening that will bring the PCs together. Maybe something that threatens the whole city, or something that you know the PCs will hold dear – a reason for them to stick together. In play, the start of session move will give them more stuff to do as well, so your incident might be a backdrop or might be the key action of the session, but it should be unavoidable and with clear consequences.

Good ideas are an important area or location in the city being under threat, a massive monster being released or summoned, or a deadly NPC arriving and tipping the status quo. Even if it ends up being a backdrop, it should be something that sets multiple events in motion – it’s OK to have a deadly vampire killer on the loose, but make sure that his murders trigger an all-out Vamp-Werewolf gang war in the city, and have the wizards summoning blood demons to take out the most dangerous Vamp threats to them.

As well as an inciting incident, have a few ideas about how this event will climax towards the end of the session – the battle / binding of the demon, the restoring of the status quo, the NPC being chased off. Clearly it’s a good idea to have this as loose as you can make it, but it should be a clear endgame where the threat gets resolved one way or another.

Start of Play

Do Character Generation by the book

Get the players to fill in their Playbooks as per the rules on them. Follow the book advice on one-shots (one extra advance, 3 points of Corruption, one Corruption advance). Get them to go around and briefly introduce their characters after you give a brief overview of the city and the four factions you created. For each NPC, write their name and faction onto an index card and throw them in the middle of the table.

Do Debt – and make it a massive deal

Get the players to take turns in deciding Debt, and make a big deal of it. The book does advise this, but it helps to explicitly refer to Debt a key currency in the game – this is a game of factional manipulation and politics, so who owes whom is really important. I like to stress that 2 Debt is a big deal – you owe them big time, and they can call in a suitably big favour for this – anyone who owes 2 Debt to someone has a ticking time bomb of something being called in. In play, remember to remind them when they ask for something that Debt is the way to leverage it – and that they can always refuse to help with the appropriate Debt Moves.

Start of Session Moves

It’s easy to think that the start of session move doesn’t work for one-shots, but it really sings, especially if somebody rolls a Miss. I avoid giving any hints of my inital scene before they have done the session move, so that the PCs already have a lot on their plate before their unavoidable event happens.

Don’t pull punches! If they roll a Miss, it’s entirely appropriate to start them in a terrible situation. PBTA games are really resilient at letting PCs go from tragedy to glory, and back again, in just a few Moves, so don’t feel bad about starting with your Wizard captured by a recalcitrant demon he was trying to summon. When they mark their Faction, explain how the Advancement system works and that they are just 3 interactions away from advancing – they should be actively hunting down other factions to get their ticks. In the course of the Session Move, the players might suggest additional NPCs. Write them on an index card with their faction and put them in the middle of the table.

Check your NPCs

Before you launch your starting scene, take a look at the NPCs on the table and see if you can ditch any of them. If there’s one without any debt who doesn’t seem to be of interest to the group, suggest to the players that they might not feature in the game. They might have future plans for them – which is fine – but otherwise try to trim your NPC list down as much as you can. If this means ditching all four of your starting NPCs, so be it! The players inevitably come up with much more interesting characters.

Play!

Often PBTA games suggest you take a break now and collate your notes, look at how factions interact, and check you are ready to play. My own experience is that after the start of session moves I’m often fizzing with ideas, and the players are ready to go, so it’s better to start with the inciting incident now and have a break straight after it.

One piece of pay advice I’m terrible at following myself – make your hard moves soon! In a one-shot, once that first miss gets rolled in a risky situation, it’s fine to hit the player with unavoidable consequences; the “warn someone of impending danger” move is often slow. I prefer, in a one-shot, to “put someone in danger.”

So that’s a quick write-up of how I do Urban Shadows one-shots. It’s a cracking game and a great urban fantasy experience to bring to conventions. I’ll be posting up my Manchester 1997 setting shortly, so watch out for that – and putting up more one-shot advice soon enough.

Oh, and if urban fantasy is your bag, you should check out the kickstarter for the Liminal RPG. I’m involved in editing and producing some Case Files (adventures) for the system, and possibly more content depending on how far the stretch goals go. It’s already funded, so any extra Backers just mean more stuff gets written and produced for everyone!

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.

An Xmas Mixtape (a Mixtape is like a Spotify Playlist from olden times)

This blog is now 8 months old. While I’ve not maintained it with as much regularity as I’d foolishly expected, I’ve spent a bit of time reviewing my content – and taken the step to actually shell out some cash to make this ad-free (sorry, those of you who were wanting the chance to win an iPhone 10 every time you clicked the link).

I’ve got big(ish) plans for the blog next year, and am planning to get serious about writing (and editing) RPGs more widely – while it’s only a tiny one-shot, seeing Bite of the Crocodile God get art and layout has convinced me to get my act together a bit more.

My plan in the new year is to continue with a mixture of different things, all through the lens of one-shot play. In the meantime, in case you’ve missed them, here’s a mixtape of what you can expect more of:

Reviews, with a particular focus on one-shot play – I started trying to do all of the Fate Worlds series, but I got a bit distracted – this is probably my favourite, of the frankly bonkers Masters of Umdaar

Prep and play advice, such as this post which I’ll be rereading before Revelation (the Powered-by-the-Apocalypse convention in Sheffield, UK) on prepping PBTA one-shot games

Rules tweaks, like this for making Cypher system (and other games’) experience system fun

And the occasional beard-stroking bit of sentimentality, like this post about the nature of the hobby, and why you shouldn’t feel guilty about all those game books on your shelves.

I’m hoping to get some actual ready-to-play one-shots on the blog as well, and have several percolating in various stages ready for editing and uploading. I haven’t forgotten about the #1H1S thing, either – so expect more about running 1 hour RPG sessions soon too.

And, in case I haven’t said before, thanks for reading. I hope you continue to enjoy it. Anything else you’d like to see, stick it in the comments!