TEXT: A toolbox, checklist, and Devil’s dozen of random tables 
  for improving your tabletop fantasy roleplaying game.
  Venger As’Nas Satanis
  Draconic Magazine
  presents
  How
  How to
  to Game Master 
  Game Master 
  like 
  like a Fucking Boss
   Fucking Boss
  
   1 
  How to 
  How to 
  Game Master 
  Game Master 
  like a 
  like a 
  Fucking Boss
  Fucking Boss
  BY 
  BY 
  VENGER AS’NAS SATANIS
  VENGER AS’NAS SATANIS
  2015
  Th ank you for purchasing this curious tome.  You honor me, noble lords.  I do what my warlock hands can with this slick, 
  slime-scaled, shadowy crustacean meat scooped from the cosmic wyrm-snake of one hundred and eleven eyes I call the 
  O5R.  Actually, I’ve never called it that but whatever...
  Th is book is system and style agnostic.  Th e best kind of roleplaying is free from constraints and limitations.  
  It is orders of magnitude richer than the thing we call “reality”.  Pure escapism?  It isn’t our lives we’re att empting to escape 
  so much as wizard and warrior lives we’re att empting to inhabit.  We were born into this world.  
  Why not fantasize something greater?
  
   1 
  How to Game Master like a Fucking Boss is an instruction guide for GMs old and new, writt en to assist with virtually 
  every fantasy paper & pencil tabletop roleplaying game. Th e rights to reproduce this work are reserved for the 
  copyright holder.
  Coptyright © 2015 by Venger As’Nas Satanis
  Published by Kort’thalis Publishing
  All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any 
  means, including photocopying, recording, or other electronic or mechanical methods, without the prior written 
  permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other 
  noncommercial uses permitted by copyright law. 
  For permission requests, write to the publisher at
  Venger.Satanis@yahoo.com
  htt p://vengersatanis.blogspot.com/
  &
  htt p://www.draconicmagazine.com/
  _____
  Cover Art:  HELMUTT 
  Interior Art:  Zarono, Terry Pavlet, Randy Musseau, Monstark, Jez Gordon, Craig Brasco, 
  Joshua Burnett , and Stephan Poag
  Layout:  Ed Wedig, www.edwedig.com
  Dungeon Cartography:  Josephe Vandel
  _____
  Special thanks:  Shawn Hartnell, Andy Action, Tod Rokely, Jared Hayter, Vb Wyrde, Chris Dunlap, 
  Benjamin Wenham, Scott  Charlton, Andrew Girdwood, and so many others for their support, encouragement, 
  ideas, suggestions, publicity, and contributions!
  Key Kickstarter Contributors:  Dianne Hackborn and Pierre Savoie
  
   2 
  INDEX
  INDEX
  Th e Draconic Method: 
  Game Mastering Secrets of Venger Satanis  ........................  4
  Why do We Roleplay?  ..............................................................  4
  Roleplaying versus Persona-play  ...........................................  6
  Becoming the Boss  ...................................................................  7
  Looking like a Boss  ..................................................................  7
  Tales from an Experienced Game Master  ...........................  8
  Be a Self-Confi dent Game Master  ........................................  9
  Proper State of Mind  ...............................................................  9
  Improvisation  ..........................................................................  10
  Th e Devil’s Prism  ...................................................................  10
  When Metallica forgot hot to be Metallica  .......................  11
  Th e Waiter Analogy  ...............................................................  11
  Don’t be a Pushover  ............................................................... 12
  Stress  ......................................................................................... 12
  Your Duties Include Adventure Writing  ...........................  13
  Who cares about Atlantean Glyphs?  ..................................  14
  Draw a Story Map ...................................................................  14
  In Your Own Words  ................................................................ 14
  Not a Democracy ....................................................................  14
  Building Encounters  .............................................................. 15
  Unscripted  ...............................................................................  15
  Not Everyone likes the Same Th ings  ..................................  17
  Keep it Moving  ...................................................................... . 17
  Th e Illusion of a lot going on  ................................................  18
  Rather than take a Five Minute Recess  .............................  18
  Deeds of Might  .......................................................................  18
  Divide and Unite  ....................................................................  19
  Breakup the Campaign to make it last  ...............................  19
  Strangers at the Beginning  ................................................... 20
  Flexibility  ................................................................................. 20
  Ideal Session Length .............................................................. 20
  Preparation  ............................................................................... 21
  Player Character Fixation  ..................................................... 22
  Positive Affi  rmations  ............................................................. 22
  Intermitt ent Rewards  ............................................................ 22
  Making up for your Mistakes  ............................................... 23
  Rate of Encounter  .................................................................. 23
  Go where the Game Leads You  ........................................... 24
  Group Size  ............................................................................... 24
  Exceptional Players  ................................................................ 24
  Session Write-ups and Recaps  ............................................. 24
  Add another Layer  ................................................................. 25
  Flatlining the Burning Chrome of Chiba City  ................. 26
  You get out what you put in  .................................................. 26
  Visual Aids  ...............................................................................  27
  Always Level Up aft er the First Session  .............................  27
  Experience  ............................................................................... 27
  Initiative  ...................................................................................  27
  Should NPCs be involved in Combat?  ............................... 28
  Matching Dice  ........................................................................ 28
  Ambience  ................................................................................. 29
  Th e Die is Cast  ........................................................................ 29
  Use their Character Names  .................................................. 29
  Th at 15%  ................................................................................... 30
  Th e Saving Grace of 33%  ...................................................... 30
  Specifi c and Vague  ................................................................. 30
  Law of Diminishing Returns  ...............................................  31
  Th e Hidden Benefi t of a High Charisma  ...........................  31
  Missed Opportunities part I  ................................................  31
  Missed Opportunities part II  ..............................................  32
  No Forward, just Failure  ......................................................  32
  Focus on One thing at a Time  ............................................. 33
  Unwanted Flirting  ................................................................. 34
  Have a Backup Adventure Ready to go  .............................. 34
  Att ack Descriptions  ............................................................... 34
  Uncomfortable Players   ......................................................... 34
  Initiation  .................................................................................. 35
  Death Dealing  ......................................................................... 35
  Backup Characters  ................................................................. 36
  Pre-Game Questionnaire  ..................................................... 36
  Starting Off    ............................................................................. 36
  Untrained Players  ...................................................................  37
  Meditation  ...............................................................................  37
  Modeling  ..................................................................................  37
  What Do You Do?  .................................................................. 38
  Enticements  ............................................................................. 38
  Flashbacks and Flash-forwards  ........................................... 38
  Slow Burn .................................................................................  39
  Expectation of Strange  ..........................................................  39
  Special Abilities  ...................................................................... 40
  Non-Player Characters  .......................................................... 40
  Backseat Game Mastering  .................................................... 40
  Don’t Name him Bob  .............................................................  42
  Once something is communicated, it exists  .....................  42
  Know Th yself  .......................................................................... 43
  Obvious versus Creative Choices  ....................................... 43
  Improvisation via Covert Solicitation  ............................... 44
  Peewee’s Playhouse Paradigm  ............................................. 44
  Investigative Horror Scenarios  ...........................................  45
  Whimper or Bang?  .................................................................  45
  Assorted Game Mastering Wisdom  ................................... 46
  When the Music’s over  ..........................................................  47
  Th e Checklist  .......................................................................... 49
  Something Disgusting ........................................................... 49
  Something Grisly  ................................................................... 49
  Spell Failure ............................................................................. 49
  Powerless .................................................................................. 50
  In Media Res  ........................................................................... 50
  Something the Players Have Never Seen Before  ............. 50
  Planes, Trains, and Automobiles  ......................................... 50
  Whimsical  ................................................................................ 50
  Pyramid, Ziggurat, or Trapezoidal Structure  ..................  51
  Lost City  ..................................................................................  51
  
   3 
  INDEX
  INDEX
  Standing Stones  ......................................................................  51
  Gambling  .................................................................................  52
  Stolen Property  .......................................................................  52
  Extreme Prejudice  ..................................................................  52
  Insult  .........................................................................................  52
  Wizard’s Duel  .......................................................................... 53
  Gladiators  ................................................................................ 53
  Altars, Statues, and Pools  ..................................................... 53
  Artifacts and Relics  ............................................................... 53
  Nudity, Sex, and Eroticism  ................................................... 54
  Archetypal NPCs  ................................................................... 54
  Mystery  .................................................................................... 54
  Th ree Th ings at Once  ............................................................ 55
  Jokes  .......................................................................................... 55
  Language  .................................................................................. 55
  Factions  ....................................................................................  57
  Prophecy  ..................................................................................  57
  Slavery  ......................................................................................  57
  Time Travel  ............................................................................. 58
  Seinfeld  ..................................................................................... 58
  Familiar Monsters but with a Twist  ................................... 58
  Treasure  ...................................................................................  59
  Conspiracy  ..............................................................................  59
  Th ieves and Assassins  ............................................................ 60
  Prett y Woman  ......................................................................... 60
  Unreliable Narrator  ...............................................................  61
  Religion, Priests, and Divinity  ............................................  61
  Council of Wizards and the Nature of Magic  ...................  62
  Universal Truth  ......................................................................  62
  Alien Technology  ................................................................... 63
  Volcano  ..................................................................................... 63
  Seasons  ..................................................................................... 63
  Signifi cant Events  ................................................................... 63
  Girly Stuff   ................................................................................ 64
  Over-the-top Villain  .............................................................. 64 
  Gonzo  ....................................................................................... 66
  Test of Wills  ............................................................................. 66
  Rescue  ......................................................................................  67
  Stillness  ....................................................................................  67
  Revenge  ....................................................................................  67
  Dinosaurs  .................................................................................  67
  Th e Book  .................................................................................. 68
  Gothic  ....................................................................................... 68
  War  ............................................................................................ 68
  Common Misconceptions  .................................................... 70
  Whom to Blame  ...................................................................... 70
  Everyone has a Past  ................................................................ 70
  Character Questions  ............................................................. 77
  Reasons the Characters are Together  ................................ 79
  Motivations, Desires, and Goals  ......................................... 80
  Profound Musings of an NPC  ............................................. 82
  Cults  .......................................................................................... 83
  Monsterpalooza  ...................................................................... 86
  Colors  ....................................................................................... 87
  Mutant Magic Items  .............................................................. 88
  Cosmic Horror  ........................................................................ 90
  Stupid Gnome Hat  ................................................................. 90
  Complications  .........................................................................  91
  Unique NPCs  .......................................................................... 93
  Confl ict between Factions  ................................................... 94
  Reaction Table  ........................................................................ 94
  Understanding the Universe  ................................................ 95
  10 Ways to Alter your Purple Consciousness  ................... 95
  Viridian  .................................................................................... 98
  Aft erward  ...............................................................................  118
  
   4 
  genre, system, Game Master, and our fellow dreamers… 
  or players.  We may not have limitless choices but there’s 
  certainly more authority than the random fi ring of neurons.  
  Like lucid dreaming, roleplaying provides a special kind of 
  experience.  
  So, what is the purpose of a roleplaying game?  
  • Not to have fun.  Fun is a state of enjoyment we should 
  cultivate no matt er what we’re doing.  
  • Not to tell stories.  Storytelling is the vehicle that gets 
  the roleplaying from point A to point B.  
  • Not to socialize.  Yes, it’s a social activity but there are 
  easier ways of talking with friends – it’s called hanging 
  out.  
  • Not to optimize one’s character or game the system.  
  Th e rules are there to establish an even playing fi eld, 
  not a min-max stress test.  
  • Not to see what happens.  Go watch TV or read a 
  book.  
  • All the above should be byproducts of good roleplaying, 
  not its chief goal.
  Roleplaying has a lot to off er but its primary function is 
  this: immersing ourselves in an imagined self and/or reality.  
  With regards to tabletop fantasy roleplaying, it allows us to 
  feel like a brave knight brandishing our enchanted sword, a 
  learned wizard capable of shooting fi re from our fi ngertips, 
  or an unscrupulous rogue hiding in the shadows… waiting 
  for his chance.  
  However, it’s not enough to imagine that we’re such 
  adventurers.  One must explore this amazing world full of 
  dragons, dungeons, castles, elves, demons, and all manner 
  of dreadful subterranean denizens.  If it seems like you’re 
  actually there, experiencing this realm of sword and sorcery 
  via your character (yourself by another face and name), 
  then you’ve achieved the highest level of roleplaying.  No 
  matt er how fl eeting, that immersive quality is its essence, the 
  starting point from which everything else springs.  Th e more 
  we suspend our disbelief, the more powerful our experience 
  has the potential to be.
  Having said all that, it should be obvious (though clearly 
  it won’t be to everyone) that players don’t want to embrace 
  life as a copperless street urchin dying from syphilis as he 
  hopelessly tries to knife that ogre who just pissed on the 
  fi lthy rags he calls an outfi t.  Nor will players enthusiastically 
  remain awkward buff oons while the mayor, his wife, and 
  The Draconic 
  The Draconic 
  Method:  Game 
  Method:  Game 
  Mastering Secrets of 
  Mastering Secrets of 
  Venger Satanis
  Venger Satanis
  As my wife is fond of telling me, I don’t have hobbies.  I have 
  obsessions.  She’s right, of course.  I don’t just run a weekly 
  game and leave it at that, I turn each session over in my 
  mind... encounters, characters, descriptions, environments, 
  themes, gaming aids, etc.  I examine every square inch of the 
  campaign until it has been checked and double-checked.  I’m 
  not only looking for weak spots but points of strength and 
  golden opportunities.  Why?  Because I have a screw loose.  
  Probably a bunch of them.
  Becoming the best Game Master in the world (at least the 
  best I can be) is my latest and greatest goal.  It’s what I was 
  put on this earth to do.  It’s my destiny.  My obsession is not 
  simply a manifestation of will.  It has taken practice, study, 
  discipline, and the application of unorthodox theories.  One 
  must experiment with a wide variety of variables, testing and 
  re-testing.
  Originally, this book was meant only for me; a collection of 
  secrets that I could refer back to time and time again.  But 
  wouldn’t it be selfi sh to keep that lore all to myself?  Why not 
  teach my discovery, allowing my insanity to illuminate Game 
  Masters throughout the world?  You hold in your hands a 
  chronicle of my journey: the Draconic Method.  Th irty years 
  of Game Mastering knowledge is now at your disposal.  Use 
  it wisely... or don’t.  I don’t really give a fuck.
  Why do We Roleplay?
  Why do We Roleplay?
  It almost feels like we’re lucid dreaming.  We may not be able 
  to control our environment and what happens to us, but our 
  awareness is palpable.  In that situation, we are consciously 
  aware that we’re dreaming, that this isn’t real – even though 
  it can seem incredibly real in the moment and then again 
  when we look back on the experience… remembering that, 
  for a time, we wore chainmail, leather, or arcane robes; that 
  we were the slayers of foul devils from black gulfs beyond 
  known space and time.  During a lucid dream, the dreamer 
  has a greater chance to infl uence events and to participate as 
  an autonomous being.  He has more control.
  Th at’s an amazing thing.  So, it’s no wonder we keep coming 
  back to the same well, especially when we can choose the 
  
   5 
  
   6 
  the head guard do all the work and have all the fun.  Neither 
  would they be content to stand around a cornfi eld being 
  wizards, warriors, and the like.  
  Adopting a role is not enough.  Basically, what I’m trying 
  to say is this:  players want to experience the best, the most 
  interesting parts of their alter-ego.  It won’t always be roses 
  but neither should it always be thorns.  Give the players 
  something thrilling or, at the very least, mildly intriguing 
  every session, if not every single encounter.  It’s a Game 
  Master’s duty to help players fully imagine themselves within 
  another world and then to make that experience awesome.
  Roleplaying versus 
  Roleplaying versus 
  Persona-play
  Persona-play
  “Wow, 18 years of nothing and now twice in one day!”  -  Den 
  from the fi lm Heavy Metal
  I’ve never heard anyone going on about their favorite RPG 
  experience while they were playing Sturm, Wolverine, Drizzt, 
  or Randolph Carter.  However, I oft en hear the nostalgic 
  recollections of those who read Choose Your Own Adventure 
  books.  Th at’s because we want to be the ones att empting to slay 
  the dragon, traverse the swamp of despair, or reciting passages 
  from the fabled Necronomicon - not some other guy.  
  Th ere’s a reason why it’s called roleplaying.  Players adopt a 
  role; specifi cally, their characters.  But a role is not the same 
  thing as a fully formed persona.  One (generally) does not 
  assume the personality, mindset, style of communication, 
  mannerisms, etc. of an established character with the intent 
  of trying to be that person, to disappear into the character to 
  such an extent that the player no longer exists.  Th at’s called 
  acting and though it’s similar to roleplaying, they are not the 
  same thing.  
  In a roleplaying game, players use a proxy or stand-in for 
  themselves.  Th e character is similar to them in many ways – 
  to such an extent that the line easily blurs.  Th ese superfi cial 
  diff erences merely enhance the roleplaying experience 
  – the chance to become a thief, witch, or druid… through 
  ourselves, our unique lens.  
  Adopting dozens of quirks, interests, gestures, passions, 
  motivations, limitations, and parameters is not the same 
  thing as playing a role.  If the point of roleplaying is to see 
  what it would be like to slash monsters with fl ashing steel 
  and conjure demons with a wave of our hand, then we need 
  to feel what that would be like.  Not by becoming someone 
  else entirely and losing ourselves in a character, but placing 
  ourselves in another’s shoes.
  If you’ve seen Th e NeverEnding Story, you’ll remember the 
  boy reading the book and the boy who went on the adventure.  
  Th ey’re not the exact same person but are similar enough so 
  the fi rst boy can fully experience what the second has to go 
  through.  Hopefully, you’ll also have watched Heavy Metal.  
  Th e young man who discovers the green meteorite soon 
  becomes Den aft er he’s transported to another world.  Th at 
  young man is somewhere deep inside Den just like the player 
  resides within his character.  Th is is the most rewarding 
  aspect of a roleplaying game for the players – essentially 
  remaining themselves while being superfi cially transformed 
  into individuals who belong to a certain world.
  Obviously, we’re not going to put ourselves in the same 
  kind of peril as our character.  A certain amount of psychic 
  distance is necessary to full enjoy our vicarious experience.  
  Yet, players must be able to identify with their characters, 
  enough so that in some small way, it feels like them… like 
  they are the ones storming the castle, not just their surrogate.  
  Identifi cation is key.
  While turning this revelation over in my head, I’m reminded 
  of something else from my youth – an episode of Doctor 
  Who called City of Death.  Scaroth is fragmented through 
  time.  Th ose scatt ered selves (such as Count Scarlioni) are 
  both him and not him simultaneously, a bit like Schrodinger’s 
  cat whose indefi nite state remains a mystery until the feline’s 
  fate has been revealed.  Scaroth is leading a diff erent life in 
  each of his fragments.  Presumably, he’s not an exact copy but 
  more like identical twins.  Th eir environment, parents, and 
  luck play a part in how each has developed.  Yet, essentially 
  they are cut from the same cloth.  When one is in distress, the 
  others feel it.  Th e success of one is felt by all.
  Keep in mind when running the game that roleplaying 
  is preferable to persona-playing.  If a player is not fully 
  enjoying himself, the cause could be his lack of self within 
  his character.  Th ose wishing to further explore this concept 
  may want to keep character creation short and sweet.  Keep 
  backstory to a minimum.  Excessive acting (or over-acting) 
  could be detrimental to the immersion.
  Conversely, Game Masters should opt for persona-play 
  whenever possible.  NPCs should rarely be stand-ins for 
  the Game Master.  Rather, he should become an actor, 
  portraying a character as best he can.  I know from personal 
  experience.  I’ve used myself as the basis for various NPCs.  
  Not only does my characterization lack in fl avor because I’m 
  basically speaking as myself and from my point of view, I also 
  empathize too much with the NPC.  Th at means, I’ll more 
  than likely fi ght tooth and nail to protect him, to make him 
  succeed or come across as noble, impressive, charming, etc.  
  
   7 
  Looking like a Boss
  Looking like a Boss
  Wear what makes you feel good.  If that’s a butt oned down 
  shirt and slacks, black heavy metal t-shirt and jeans, or a 
  dress, then wear that, as long as it’s presentable.  Avoid ripped, 
  stained, ill-fi tt ing, and dirty clothes.  Fashion is fi ne but don’t 
  look like a derelict.  
  For the fi rst couple sessions, pretend that you’re going to a job 
  interview.  Whatever you would do to make a good impression 
  (even if you already know the players), do that.  Show up in 
  a good mood with a positive perspective; look forward to 
  the game.  Conduct yourself in a professional manner, even 
  though you’re not gett ing paid.
  Defi nitely bring plenty of paper (including graph paper), 
  pencils, pens, dice, rule books, adventure, supplements, 
  screen, campaign notes, post-its, miniatures, maps/terrain, 
  and all the other stuff  you think you might need.  Not that 
  you need all that stuff , they’re optional.  If you want to go the 
  extra mile, get an extending chrome pointer or laser pointer.  
  Speak your mind.  Don’t be afraid to tell players what you 
  think before the game starts and aft er it stops, but keep your 
  speaking to a minimum during the session.  Th ink of yourself 
  as the host of a party before and aft er.  Th ink of yourself as 
  Chris Harrison on Th e Bachelor while the game is in progress.  
  He tells people what they need to hear, listens to what they 
  have to say, and gets the hell out of there.  Chris Harrison has 
  been doing it so long that he’s totally at ease, relaxed; even if 
  he’s taken off  guard, it seems like he always has a prepared 
  response.  
  Gesture and gesticulate for eff ect.  Speak slowly, clearly, 
  and loudly enough to be heard without raising your voice 
  unnecessarily.  Th ere will be times when whispering or 
  shouting is appropriate, but they are few and far between.   
  Use words that communicate action, excitement, tension, 
  confl ict, mystery, empathy, fear, passion, desire, and a sense 
  of wonder.  Emphasize certain words by the way you speak 
  them.  For example, practice saying the following poem 
  several times before a session and in a variety of ways.
  Once or twice a campaign, it’s not a big deal; once or twice a 
  session?  Th at’s a problem. 
  Becoming the Boss
  Becoming the Boss
  How can you be an eff ective boss, if you don’t know what 
  you’re supposed to be the boss of?  What’s the company’s 
  purpose?  What are you guys making?  How do you intend 
  to make it?  Once you know that, you can determine how 
  to make it properly, over and over again… stronger, faster, 
  bett er!
  You’re going to be the boss of ‘let’s pretend’.  Look the players 
  in the eye and, in your own words, summarize the campaign 
  world, current situation, and how those two things relate to 
  them, based upon the characters they created.  Set the scene, 
  narrate a fragment of story – enough to hook the PCs in – and 
  then let go.  Allow the PCs the chance to fi gure things out 
  and do their own thing.  Slowly reel them in when it’s time for 
  another encounter.  Set the scene with a bit of narration then 
  let things take their course again.  Th e following paragraphs 
  are an example of what I mean.
  Here’s the deal.  Th is was an ordinary medieval realm until 
  dragons appeared in the northern skies, possibly something 
  to do with dimensional anomalies predicted by the azure 
  sorceress.  Now, the people live in fear.  Civilization crumbles 
  a litt le more with each village and town burned beyond 
  recognition by dragon fi re.
  You’re a barbarian without a tribe, exiled.  You’re a wizard 
  who’s been corrupted by black magic, enslaved to your 
  demonic patron.  You’re a scoundrel looking for purses to 
  cut in dark alleyways and outside taverns.  None of you have 
  done very well for yourselves; you’re all bott om-feeders, 
  vagabonds, and murder hobos.  
  One night, a stranger walks into the Lion’s Den – an alehouse 
  between kingdoms, left  to its own devices as far as the law 
  is concerned.  Th e stranger eyes up everyone he sees, asking 
  more questions than he should be.  “You look as if you’ve 
  seen bett er days, my friend.  Have you ever thought about 
  exploring the mountains to the north?”
  
   8 
  Preparation
  Now is the time
  Grip your blade
  Sprayed with crimson
  Glaring
  A single cat’s eye open
  Shapeless, Satanic singularity
  Darkness covers the land
  Demons shriek.  Devils cackle
  It drinks your soul
  Forever
  Tales from an 
  Tales from an 
  Experienced Game 
  Experienced Game 
  Master
  Master
  Reading through my old blog posts, I’m reminded of 
  something I used to feel hours before game time.  A mix of 
  worry and  anticipation… but most of all ridiculousness, as 
  if paper and pencil, tabletop roleplaying games might just be 
  too frivolous a pastime to take seriously, as serious as I was 
  about to take it.  
  Yes, occasionally, I would feel a bit silly… perhaps something 
  bordering on shame.  As if I were seeing myself through 
  the eyes of a disapproving or disappointed parent, sibling, 
  spouse, signifi cant other, friend, random person off  the 
  street… anyone who might consider RPGs a joke.  
  Beyond all that, there was the god awful responsibility sitt ing 
  uncomfortably upon my shoulders.  In those pre-game 
  moments, I realized that everything rested on me.  Th e entire 
  game relied upon my ability to communicate and convey an 
  enticing series of encounters making up a fantastic adventure.  
  If I fail, the game fails, and everyone will know I fucked up, 
  that I’m a shitt ing Game Master.
  Well, those days are over.  I’ve now run so many games for so 
  many diff erent people that the only thing on my mind these 
  days is the following…
  • Do I have all my stuff  (books, notes, dice, etc.)?
  • Do I have a general idea of what’s going to happen?
  • Am I ready to crank this bitch up to 11?
  If you’ve answered or want to answer, “Hell yeah!” to all 
  three of the above questions, then you’re ready for this guide.  
  I’ll be touching on all the basics:  proper state of mind, 
  improvisation, encounter balance (probably not what you’re 
  thinking, though), incremental progression, and just plain 
  having fun.
  
   9 
  Be a Self-Conﬁ dent 
  Be a Self-Conﬁ dent 
  Game Master
  Game Master
  Imagine three circles, each containing one of the following 
  sentences:  1) realize your vision for the campaign, 2) make 
  the players happy, 3) fuck it; let’s just see what happens.  
  Now imagine an area where all three of those circles intersect.  
  Th at’s where your optimal Game Mastering lives.  A confi dent 
  Game Master cares about manifesting his will just as much as 
  he cares about his players having a good time and lett ing each 
  session take its course, wherever that may be.  
  You don’t have to be a control freak - though it might help 
  if you have control freak tendencies - but you do need some 
  kind of vision, aesthetic, story, etc.  If you don’t have anything 
  to say, even if it’s, “I like tentacles,” then put the screen down 
  and work on being an exceptional player, instead.  
  As Game Master, you have a voice.  Th at voice needs to 
  say something.  You can run a simple dungeon crawl, but a 
  part of you should be in there somewhere.  It shouldn’t be 
  utt erly generic.  It needs personality and character.  Th at’s 
  for you to provide.  Hopefully, you’re not a blank slate.  On 
  the contrary, I assume you have loves, hates, fears, hopes, 
  fetishes, annoyances, beliefs, curiosities, and a whole bunch 
  of subjective idiosyncrasies that make you who you are.  Put 
  that stuff  into your campaign.  Use your voice.  Be more than a 
  published adventure’s narrator.  Be a fucking Game Master!
  Obviously, you’re not just scribbling in a dream journal or 
  writing a collection of short stories.  You’re running an RPG 
  for a bunch of players.  Th ey are your audience, as well as, 
  your collaborators.  Treat them kindly and with respect… 
  until they show themselves worthy of your ridicule – at that 
  point, be merciless!  
  Give the players what they want, but don’t go too far.  Too much of 
  a good thing and too soon will spoil the players.  At which point, 
  they’ll take your campaign for granted.  You don’t want lazy 
  and entitled characters looking to you for their entertainment 
  instead of allowing the fun to come from their own creativity.
  Let go of your need for concrete answers.  Th ere’s no well-lit 
  path that you can follow from the fi rst session to the last.  Even 
  if you identify the right road, you will drift  off  course.  Th at’s 
  OK.  Th ose side-streets aren’t full of landmines.  Ultimately, 
  you shouldn’t care where the campaign goes as long as it’s 
  interesting.  If it’s interesting, it’ll be entertaining.  Th ose who 
  are entertained will come back for more.  Avoid dull encounters.  
  Steer clear of boredom.  Embrace the road less traveled because 
  it’ll surprise you just as much as the players.  
  Proper State of Mind
  Proper State of Mind
  In the Blake’s 7 episode Deliverance, the planet’s inhabitance 
  believe Avon some kind of god for fi xing their ship containing 
  DNA that will seed another world.  At the episode’s end, 
  Blake confi rms what Avon is feeling… a heavy responsibility. 
  Similar to being a Game Master, probably.  
  If you’re starting out, then of course you’re going to be nervous 
  – unless you’re either too clueless to be nervous or some kind 
  of sociopath who just doesn’t care about other people.
  Most likely, if you’re reading this book, you’re not just starting 
  out.  You’ve Game Mastered before.  Perhaps many times over 
  the years.  Th at’s great.  But don’t be alarmed if you (still) feel 
  insecure, incompetent, or ashamed.  Most individuals don’t 
  know how to Game Master like a fucking boss.
  Rather than a sociopath, a Game Master… hang on a second.  
  As you’ve probably noticed, I’m not abbreviating the title as you 
  would expect.  And I won’t for the vast majority of our journey 
  together.  Th at’s because it’s a high offi  ce that deserves the 
  utmost respect.  In fact, I want you to temporarily wipe “GM” 
  from your vocabulary.  From now on, you’re going to refer to 
  the generic running and refereeing of roleplaying games as 
  Game Master, Game Mastering, and Game Mastery.  Don’t 
  minimize your vocation with a two-lett er abbreviation.    
  Why?  Because what we do requires a strong belief in ourself.  
  Belief, like reality, is malleable.  Both are defi ned by language.  
  Th e words we use create the world around us and determine 
  how we interact with it.  So, use the right ones.  Start with 
  calling yourself a Game Master or similar handle that’s 
  recognized throughout the gaming community… or make 
  up your own, such as Usurper of the Crimson Blade.
  But don’t get too cocky.  A god needs humility.  He really 
  does.  Otherwise, he’s just an egotistical narcissist who 
  doesn’t bother with the thoughts and feelings of mortals.  
  Game Masters are like gods - they also need humility.  Even 
  though they run the show, a Game Master is just a piece of 
  the puzzle.  In fact, he’s the corner pieces – all four of them.  
  It’s always a good idea to start with the Game Master.  Get that 
  ironed out fi rst.  If it’s not you, make sure he’s solid because 
  everything fl ows from him.  Yet, once the trickle becomes a 
  stream, we Game Masters must get out of the way, allowing 
  the game to fi nd its own direction.  Only divert the fl ow if it 
  will make for a bett er game.  Don’t dam up the river because 
  it’s going somewhere we hadn’t anticipated.  Obstacles and 
  setbacks can be useful, but completely stopping the fl ow will 
  halt the game or, at least, the game’s fun.
  
   10 
  Be confi dent.  Th is is your game.  You’re running it.  You 
  might be thinking to yourself, “Why should I be the one?  
  Am I worthy?”  To that, I respond: You were chosen – chosen 
  by fate itself – to Game Master this session.  You are worthy.  
  You have to be.  If you don’t feel it, then convince yourself 
  somehow… borrow strength from the gods, model a Game 
  Master you admire, or just pretend you’re someone else for a 
  while.  Try anything!  Because you’re going to Game Master 
  the shit out of this thing.  You have to believe it deep in your 
  bones.  You may not have been born to Game Master, but that 
  doesn’t matt er now.  It’s time.  Time to run the fucking show.  
  You’ve got this.  It’s your destiny!
  Also, keep your sense of humor.  Sure, you should take Game 
  Mastering seriously but not too seriously.  By that I mean this:  
  it’s ok to joke around, laugh at yourself, and have fun.  If you 
  can make each session your bitch whilst charming the pants off  
  her, well… now you’re Game Mastering like a fucking boss!
  Improvisation
  Improvisation 
  No matt er how much you plan and study and prepare for 
  what’s about to happen, things will occur that will throw you 
  for a loop.  Even aft er decades of Game Mastering, I still forget 
  to name that one NPC or village.  Th ose runes I mentioned 
  on the temple walls… I never came up with a translation if 
  someone rolls an 18 on their arcana check or whatever.  
  Yeah, I’m not gonna lie.  Th ere’s a fair amount of stuff  you’ll 
  just have to make up on the fl y.  Game Mastering is about 
  refl ecting the world around the characters through the 
  Devil’s prism.  Players expect a certain amount of detail.  
  When you don’t deliver, it will reveal a glaring hole in your 
  campaign world.  Keep those eye-sores to a bare minimum 
  with improvisation.  Use the fi rst thing that comes to mind.  
  If your imagination’s running on empty, don’t elaborate 
  unless the players ask you directly.
  First, try to visualize the scene yourself.  As you describe it, 
  see it in your mind.  What do those runes look like?  “Spiders,” 
  you say.  Go with that.  “What kind of spiders,” they ask.  “Alien 
  ones that, uh… come down from the mountains in winter,” 
  you reply.  If they press you for more information, tell them 
  that that is all they know at the moment.  “You have a feeling 
  that Benro the heretic would know more about those runes.”  
  Second, think of something cool.  What would impress you 
  if you were sitt ing across from yourself listening?  Do the 
  runes tell of something awful – a hideous rite of passage for 
  obscene priests who draw power from being as degenerate as 
  their loathsome god?  Sure, why not?  Th e players won’t know 
  it’s something you just pulled out of your ass unless you make 
  it obvious (like straight-out telling them).
  Th ird, if nothing at all comes to mind, buy yourself some time.  
  “As the wizard is just about to make out what those runes 
  mean, they begin to glow orange, white, and then aquamarine 
  before bursting into living fl ame.  Th e runes disappear, burned 
  away by the magical fi re.”  It’s going to take a while for the PCs 
  to bring the runes back… and it may take an hour or more of 
  screwing around if the Game Master isn’t careful.  
  Yes, it’s great to provide the players with a juicy tangent 
  their characters can sink their teeth into; however, when 
  the session gets derailed by something you came up with off  
  the cuff , you’ve got three choices (besides stalling for time).  
  1) Make this new lead really important.  Th at might mean 
  changing the focus of the session, if not the entire campaign.  
  2) Quickly resolve the mystery by allowing the fi rst or second 
  idea the PCs have to succeed or maybe they somehow get 
  what they want while they’re huddled in strategy mode.  3) 
  Interrupt this tangent with something more pressing like an 
  encounter with ogres, dark elves, or a dragon.
  The Devil’s Prism
  The Devil’s Prism
  Th e Devil’s Prism is a grand illusion!  An illusion so vast and 
  deep and compelling that it seems real… perhaps more real 
  than our reality.  
  Th e Game Master doesn’t just present his players with 
  a universe for their characters to interact with.  No, his 
  universe is conscious (well, as conscious as the Game Master 
  in question); it can think for itself, refl ecting player and 
  character assumptions, expectations, and desires.  
  Why the Devil?  Consciousness is unnatural, which makes 
  human beings unnatural because of this unexplained, 
  possibly extraterrestrial gift .  Unnatural things are widely 
  thought to be supernatural, and simple folk occasionally 
  att ribute supernatural phenomena to the Devil.  
  Th is conscious RPG reality adapts as the campaign unfolds.  
  With subtle and continual prodding behind the scenes, it 
  evolves into a living breathing world that cannot be easily 
  defi ned with words nor expressed with simple mathematic 
  equations and formulae.  
  Random tables, rolling probabilities, prepared encounters, 
  accommodating the adventurers (even when that means 
  actively working against them), and Game Master authority 
  
   11 
  can simulate an entire world in which to play.  It responds to 
  stimuli.  If you prick its fi nger, it will bleed.  If you att empt 
  to cut its throat, yours will be opened, instead.  Certain 
  campaign worlds seem to be artifi cially intelligent.  Th ey 
  have will, and their will manifests in strange ways… ways a 
  Game Master cannot predict.  
  Th at’s the Devil’s Prism and is the result of desire, discipline, 
  and knowing what the hell you’re doing.  When the campaign 
  world feels like it could run itself without your blood, sweat, 
  and tears, then you’ve achieved it.  What you’ve created is 
  more than the sum of its parts.  It’s as real as you and me, 
  opening gateways to other realities.  Th at’s what makes 
  roleplaying unnatural and dangerous… the Devil’s work.
  When Metallica forgot 
  When Metallica forgot 
  how to be Metallica
  how to be Metallica
  Back in 1983, the heavy metal band Metallica released their 
  fi rst album, Kill ‘Em All.  It was raw, aggressive, and in your 
  face.  Th e perfect no-bullshit debut that would eventually 
  propel them to their rightful metal god status.  
  In 1991, they released a self-titled album, simply called 
  Metallica also known as the black album because of its cover.  
  For many of the band’s supporters, that’s when Metallica ceased 
  to be Metallica.  1991’s eff ort seemed like a commercial sell-
  out that tried to appeal to the masses.  It was over-produced, 
  James Hetfi eld learned how to sing instead of angrily shouting 
  into the microphone and for a lot of fans (including me) it was 
  an aesthetic disaster - though fi nancially lucrative, of course.  
  Selling out usually is… in the short term.
  Aft er a while, Metallica decided to go back to their roots and 
  try to be the good old Metallica of the 1980’s.  Unfortunately, 
  it seemed they forgot how to be Metallica.  Sometimes the old 
  and new can work harmoniously or synergistically together 
  (like 5th edition).  Other times, it just creates a Frankenstein’s 
  monster, an ill-fi tt ing catastrophe.  I’m sure you can think of 
  your own examples.
  I think this patt ern can be seen all over the place.  Th e reason 
  I bring it up is because Game Masters who felt a certain magic 
  when running the game decades ago might come back to it 
  (or maybe they never left ) but just can’t seem to get back to 
  what made tabletop fantasy roleplaying as awesome as they 
  remember it being.  
  How do you rekindle that fi re?  I’ll tell you how:  Start simple.  
  Create a loose story based on iconic elements the players 
  will fi nd evocative.  Introduce a compelling setup.  Give the 
  adventurers a variety of things to do and see, people to meet, 
  and monsters to fi ght (with treasure, of course).  Hook the 
  line with juicy bate that keeps the PCs biting.  Keep playing 
  and see what happens, lett ing the campaign go where it will.
  Really, that’s all there is to it.  Th e rest of this book will 
  hopefully get you into the proper state of mind, open your 
  eyes to new possibilities, and motivate you to start a new 
  campaign or rejuvenate your current one.
  Forget the rules that seem to bog the game down.  Leave out 
  mechanics that have nothing to do with roleplaying.  Switch 
  systems if you have to!  Although, that may not be enough.  
  Play style trumps system.  Th ere’s an old school style of play 
  that existed in the 70’s and 80’s which may be what gamers are 
  looking for.  Not that everything vintage or nostalgia-tinged 
  is useful.  Some of it defi nitely isn’t.  While I’ve tried to keep 
  this tome rooted in my own kind of old school renaissance, 
  you’d do well to google the free pamphlet known as Quick 
  Primer for Old School Gaming by Matt hew Finch.
  The Waiter Analogy
  The Waiter Analogy
  A decent waiter goes through the motions.  He does what’s 
  expected:  gett ing your drink order and bringing that out, 
  asking if you want an appetizer, taking your entire order and 
  bringing that out, asking if you’d care for dessert.  Maybe, if 
  you’re lucky, he off ers you a refi ll on your drink.
  A great waiter goes that extra mile.  He doesn’t perform like a 
  trained monkey.  He over-performs, over-delivers.  He starts 
  by taking the time to get to know you before the game.  He’s 
  personable and engaging.  You get the sense that he cares 
  about you, about providing you with excellent service.  
  Beyond that, a great waiter anticipates.  He asks if you need 
  anything between orders, if you want lemon or lime in your 
  water, a straw, extra napkins; he fi nds out if your food tastes 
  good aft er the fi rst couple bites.  If there’s anything lacking, 
  he’s on top of it – gett ing you a replacement or something 
  more to your liking.  
  Behind the scenes, a great waiter is hard at work, making sure 
  you’re taken care of.  Th at includes the bill as well.  He should 
  make sure you have the right one, all discounts, coupons, gift  
  certifi cates, etc. have been properly applied.  
  Walking out of the restaurant, a great waiter should make the 
  customer feel like he’s not just had lunch or dinner but visited 
  with an old friend.  
  
   12 
  because the more powerful his character is, the less powerful 
  their characters will seem by comparison.  
  If a player keeps conceptualizing light years beyond the pale, 
  say this: “Absolutely not,” or “Nice try.”  Feel free to smile or 
  even laugh while saying it.  It works on my kids, it should work 
  for you.  Simply saying “No” might create a shadow of doubt 
  that an underhanded player could manipulate.  “Absolutely 
  not” couldn’t be clearer.  It signals to everyone that you’re not 
  fucking around, without making it personal.  You don’t want 
  to make it personal, believe me.  Saying something like, “No, 
  I’m not going to let you get away with that.” Will most likely 
  start an argument or passive-aggressively stick in someone’s 
  craw, creating a negative vibe right off  the bat.  
  Another worthwhile phrase, in the appropriate context, is 
  this:  “It’s beyond my control.”  I learned that from the fi lm 
  Dangerous Liaisons.  It’s a refutation while subtly reminding 
  players that even you have limits, that you – even a god of 
  gods – are simply part of a greater mechanism.  
  Stress
  Stress
  Sometimes, you’ve got to run the game even when you don’t 
  feel like it.  Th at’s too bad, but oh well.  Th e show must go on. 
  Obviously, if you’re at death’s door, puking, diarrhea, etc., do 
  everyone a favor and cancel with as much notice as possible.  
  Just not in the mood or just found out you’re being evicted or 
  got fi red?  Put that shit out of your mind and do your fucking 
  job – you’re real job: Game Mastering!  Th at’s part of being 
  the boss.  
  About a year ago, I opened a lett er from one of the prison pen-
  pals I used to correspond with.  Months before, he had sent 
  me a bunch of unrequested artwork along with a handwritt en 
  occult manifesto.  I had fi led that stuff  away somewhere 
  because I wasn’t going to publish it for him.  In his latest 
  lett er, I read that if I don’t send all his stuff  back to him, he’ll 
  pay a visit to me and my family when he gets out of prison.  
  So, I tore the house apart looking for his stuff , found it, and 
  mailed it back to the correction facility on the way to the 
  library where I was about to Game Master for ten strangers.
  Sure, somewhere in the back of my mind, I was panicking 
  about what if this happened or what if that didn’t, but at the 
  end of the day I knew that the game wasn’t going to run itself.  
  Game Mastering is my destiny; what I was put on this earth to 
  do.  I wasn’t going to let the potential collapse of my personal 
  life negatively impact that session.  Th e game must go on.
  You can probably see where I’m going with this.  Waiting tables, 
  which I’ve done in my checkered past, is like Game Mastering.  
  Don’t sett le for decent.  Be great or get the hell out from behind 
  that screen!  You’re taking up someone else’s spot.
  And if you can look yourself in the mirror and tell yourself 
  that you’re a great Game Master, then you should also have 
  an inner quality called self-respect.  Don’t get me wrong, the 
  following should be a last resort and will hopefully never 
  happen to you in your lifetime of Game Mastering.
  But let’s say you are continually being disrespected at the 
  table – put down, undermined, ignored, and abused by your 
  players repeatedly, despite telling them that shit doesn’t fl y 
  in no uncertain terms.  Do what any self-respecting waiter 
  would do when gett ing a 1% tip.  Push the money back to 
  the customer and inform him or her that he or she needs the 
  money far more than you.  In your case, say: “I don’t think 
  this is working out,” and get up to leave.
  What do I mean by abuse?  More than the usual disruption, 
  inatt entiveness, and chaos that many Game Masters 
  experience.  I’m talking about continual badmouthing, 
  ridicule, yelling, and violence.  If you’re assaulted, don’t 
  bother saying anything at all.  Just get the fuck out of there or 
  tell everyone to leave your house immediately or you’ll call 
  the police.  Start fresh with a clean slate. 
  Don’t be a Pushover
  Don’t be a Pushover
  On the fl ipside to the waiter analogy, don’t try to make every 
  single player perfectly happy all the time or you’ll go crazy.  As 
  the saying goes, you can’t please everyone.  Th ere will be a few 
  players who dislike your style or approach or the fact that you 
  don’t let them get away with murder.  Th at’s fi ne.  Keep your 
  focus on orchestrating the best game you can while making the 
  majority of your players happy most of the time.  Th at’s plenty.
  Players will test you along the way.  Stop bullshit at the get-
  go with a pleasant turn of phrase, such as, “Instead of going 
  way outside the rules, let’s just bend them a litt le,” and fi nd 
  a compromise.  If a player asks if he can make a character 
  that’s clearly going to tower over the other PCs power-
  wise, you want to shut it down without looking like a dick 
  or control freak.  Say, “Let’s keep things within the realm of 
  believability,” or “How about we scale things back in order to 
  keep anyone from feeling overshadowed?”
  Tell them it’s ok to go with that character concept as long as 
  he’s no more powerful than the rest of the starting characters.  
  His fellow players should be supportive of that decision 
  
   13 
  using Th e Temple of Elemental Evil mega-dungeon as a 
  staging ground.  
  Very few of us are novelists, playwrights and the like.  We’re 
  not trained to see such golden opportunities.  And yet, every 
  one of us needs to give some thought to the campaign.  Who 
  is taking action behind the scenes?  What’s going on in the 
  background?  What current events are shaping the political, 
  cultural, societal, religious, magical, and martial landscape?  
  What connections can be made between what came before 
  and what is about to come?  All important questions!  Answer 
  as many as you can, as oft en as you can.
  Your Duties Include 
  Your Duties Include 
  Adventure Writing
  Adventure Writing
  Not only are you expected to run the game smoothly, 
  effi  ciently, and with pizzazz, you’re also expected to edit, 
  revise, and create encounters throughout the campaign, 
  if not each individual session.  Th is is not based on player 
  expectations.  Th ey don’t know what’s going on behind the 
  screen, inside your mind.  
  No, adventure writing is based on my expectations for 
  you… because I expect you to Game Master like a fucking 
  boss!  Sure, you can use pre-made adventures and a lot of 
  times I think that’s the best way to go.  Nevertheless, certain 
  encounters will have to be massaged in order to provide 
  maximize enjoyment.  
  Maybe a monster isn’t tough enough or it’s too tough or too 
  predictable.  Every session is an opportunity to inject your 
  own 2 cents into the campaign, stamping your aesthetic DNA 
  into it.  Using bits and pieces from prior sessions also makes 
  narrative sense.  If it’s discovered through play that all evil 
  priests bear the blue mark of Turin upon their forehead, then 
  revealing its meaning three sessions later while investigating 
  an ancient religious tome should be a no-brainer, despite 
  
   14 
  Who cares about 
  Who cares about 
  Atlantean Glyphs?
  Atlantean Glyphs?
  Have campaign elements – specifi cally, those elements that 
  are foreign or weird – directly aff ect the player characters.  
  Exposition oft en gets tuned out aft er a while or players 
  intently listen but soon forget what you said about magical 
  sleep or sliver blades because they didn’t have any context, 
  nothing connected that information to the players’ alter-
  egos.  Details need glue, in other words.  Without something 
  to keep litt le bits of information from slipping and sliding 
  right out of people’s brains, you might as well have kept your 
  description of the entire world to three short sentences.  
  Going on about Atlantean glyphs won’t do any good unless 
  a PC has one… or maybe his squire or sister have some.  If 
  you want to introduce psionics, addiction to vampire blood, 
  or the plateau of Sutaz into your campaign, then pick a PC 
  to illustrate that element’s relevance.  Perhaps the party’s 
  thief has limited telepathic powers, the fi ghter used to be a 
  vampire’s thrall and will now do almost anything to drink 
  their potent blood, the wizard has been to the Sutaz plateau 
  only once… but that was enough to scar him for life.  
  Draw a Story Map
  Draw a Story Map
  I’ve seen this sort of thing before, but the idea was brought 
  home by my friend Vb Wyrde.  Basically, this is a map that tells 
  a story.  It doesn’t just include where one place is in relation 
  to another, a story map includes litt le pictures that go hand-
  in-hand with each major location.  Th ese images bring the 
  journey to life.  Jott ing down notes nearby is also a good idea 
  - anything to jog your memory, as well as, adding mystery for 
  curious players who take a peek at it.  If you’d rather not draw 
  it out, cut out pictures and paste them together like a collage.  
  You could photocopy it all when you’re done, adding colored 
  pencil in order to make certain elements pop.
  Th is goes along with an idea I had a couple months ago.  Before 
  embarking on a new campaign, create a vision board to go 
  along with it.  A vision board is merely a visual representation 
  of your many adventures.  Of course, this is easier to do 
  aft er playing than before.  A post-game session report full 
  of pictures should be the least amount of eff ort you put into 
  campaign visualization.  But if you know the important pieces 
  that will be prominently featured, either draw a story map or 
  create a vision board so you can see the journey rather than 
  just reading it.  A visual record of events is key.
  In Your Own Words
  In Your Own Words
  You can’t always rely on published adventures or random 
  tables to see you through.  Creating an amazing campaign 
  takes a steady hand on the wheel.  You, the Game Master, are 
  captain of this ship; you must rise to the occasion early and 
  oft en, snatching victory from the jaws of defeat when the party 
  zigs instead of zags or when the players’ eyes begin to glaze 
  as you read yet another boxed text full of tedious background 
  information.  You are in command.  Lead, damn it!
  Even with boxed text or a scripted narrative, you’ve got to 
  make it your own.  If you have to read a portion of what’s 
  writt en, that’s fi ne.  But, whenever possible, paraphrase!  Put 
  it into your own words.  It’ll sound diff erent than reading to 
  the players.  It will have a more authentic, organic kind of 
  sound – that’s what you want.  Try to read to the players as 
  litt le as possible.  If you end up missing a few details because 
  you gave them a summary instead of verbatim description, 
  that’s ok.  When the players have questions, they’ll ask.
  Not a Democracy
  Not a Democracy
  Democracy works (some of the time) when it comes to 
  governing a country.  However, there is no democracy when 
  it comes to running the game.  As the Game Master, you are 
  one who makes decisions and sees them through.  It’s good to 
  take the room’s temperature, get feedback, ask for suggestions, 
  etc.  All that should go into your decision making process.  It 
  doesn’t mean the game is run by a committ ee.  
  You’re the king.  Hopefully, a good king.  Benevolent 
  dictatorship is another way of putt ing it.  Ultimately, you’re 
  the one who has to orchestrate all the litt le details and keep 
  things in order, keep them running smooth.  Don’t lose faith 
  when the going gets tough.  Take charge!
  Of course, too many bad decisions in a row coupled with 
  obvious displays of arrogance followed by insecurity and 
  hesitation can result in a kind of player revolution where the 
  king is marched off  to the guillotine.  If it’s not looking good, 
  then admit that you screwed up, apologize, and try to make 
  amends.  
  
   15 
  Building Encounters
  Building Encounters
  Taking pieces of an encounter and breaking them into bite-
  size pieces can make it easier to create a fully formed scene 
  or situation.  Th e less you develop such details ahead of time, 
  the more you’ll have to improvise during the session.
  For every encounter, you should have at least three elements, 
  and for every element, you should have at least three 
  aspects.  Now, this may be overkill for some but if you want 
  to go the extra mile, every aspect should have at least three 
  characteristics.  
  For instance, the party sees a caravan stopped on the road 
  up ahead.  What are the elements of this encounter?  Th e 
  caravan has a broken wheel.  Th e man driving it works for a 
  wizard named Nicodemus.  Th e caravan is carrying pickaxes, 
  shovels, and various mining tools.
  Breaking things further down into aspects:  the broken wheel 
  has come off  because the horses got spooked by a dark fi gure 
  crossing the road in front of them.  It can be repaired but the 
  driver cannot do it alone.  Th e driver is named Harold.  He 
  has faithfully served his magic-using master for seven years.  
  Nicodemus ordered him to take mining equipment to the 
  caves of chaos late last night.  Th e pickaxes and such are for 
  reaching a rich vein of glowing indigo crystals.  
  How about some characteristics?  Harold has a bushy brown 
  moustache.  He chews and spits tobacco frequently.  He lost 
  his right hand in a mining accident a few years ago (which 
  is why he can’t change the caravan’s wheel by himself – also 
  showing that Harold has experience in the mines).
  Nicodemus had been scrying the night before and saw 
  something about those crystals, that they would enhance his 
  magic.  Th e wizard has no love for the queen.  He wears a 
  cursed ring that makes him paranoid whenever he leaves his 
  tower.
  Th e mine is about two or three hours down the road by horse 
  or caravan.  It’s full of low, narrow tunnels.  Rumors claim 
  that numerous undead (deceased miners) shamble through 
  the deepest shaft s.  
  Now give some thought to how all this background knowledge 
  can aff ect the characters.  How does this encounter intersect 
  with the adventurers?  Harold will tell the adventurers what 
  he knows (which isn’t everything – just surface details) if they 
  help him fi x the wheel.  He’ll even allow the PCs to escort 
  him to the mine.  “Th ere’s plenty for all, I’m sure.”
  Having a short quotation next to your NPC information can 
  help in a variety of ways.  If you get stumped for something 
  to say, something’s already writt en down.  Your quote should 
  give you some idea as to how the character talks and what 
  his motivations are.  It’s easier to build off  a quote and ad-lib 
  from there than coming up with something from thin air.  If 
  there’s an NPC likely to be encountered, come up with at least 
  a line for him or her to say.  Incorporate campaign-related 
  background information whenever possible:  “Looks like old 
  Elias is ornerier than the three-headed dragon of Torth.”
  Unscripted
  Unscripted
  When every detail is planned out ahead of time, actually 
  running the adventure can seem like chore.  Aft er all, you 
  know what’s going to happen – everything is writt en down 
  in your notes.  Th e players merely have to go through the 
  motions to reach your foregone conclusion (maybe one of 
  two conclusions, if the party’s lucky).  Th at’s kind of boring.  
  Boring sucks.  Don’t fall into that trap.
  It’s important for a Game Master to be surprised at least once 
  every session.  If you’re hesitant, start with smaller stakes.  
  Will the PCs get ambushed by the killer now or as they’re 
  passing by the library? Make a roll.  Th e book says three 
  goblins are supposed to att ack.  Roll 2d4 to see how many 
  goblins they encounter instead of going by what’s writt en.  Is 
  the chalice still hidden behind a loose fl agstone or might it be 
  in the thief’s backpack?  Let’s fi nd out!
  Of course, without knowing exactly how something is going 
  to play out beforehand, you’ll have to improvise.  Believe it or 
  not, this is where the fun comes in for many Game Masters.  
  Yes, they like being surprised from time to time.  It makes 
  them eager to keep gaming in order to fi nd out what happens 
  - just like the players.  With practice, you’ll be able to run an 
  adventure with nothing more than a location, some NPCs, 
  and a hook to get the PCs involved.  
  
   16 
  
   17 
  should grow, evolving until the beginning bears only a slight 
  resemblance to the middle, just as the middle only vaguely 
  suggests the end.  Foreshadow rather than telegraph what’s 
  going to happen.
  You might be tempted to play it safe by keeping things the 
  way they are.  Resist that temptation.  Yes, a few things will 
  remain as they are - this only mirrors the real world.  However, 
  you should be changing things up on a regular basis.  Add a 
  new NPC like the divinity student who carries a ruby wand.  
  Two sessions later, reveal his pact with Asmodeus (assuming 
  you dropped a few hints along the way).  
  Remember that villain you got all the players to hate aft er 
  he killed the wizard’s familiar right in front of him?  How 
  about an even more evil and powerful villain directly behind 
  him, hiding in the weeds?  And the dungeon everyone’s been 
  crawling through for three sessions... well, it’s actually an 
  incredibly elaborate illusion perpetrated by a giant cerebral 
  cortex with tentacles and a hundred litt le reptilian, eye-less 
  servants drenched in a sort of bilious green amniotic fl uid!
  Remember, if you’re going to throw a game changer at the 
  PCs, you should drop at least three clues about it.  Th ese 
  could be interspersed throughout prior sessions or in the 
  last hour and a half.  Perhaps, you’ve been dropping bread 
  crumbs without even knowing it.  It’s amazing when you look 
  back at seemingly random occurrences only to discover your 
  subconscious mind had a plan in mind all along.  Putt ing it all 
  together is a job for your conscious mind.  Train yourself to 
  notice the litt le things by focusing att ention on everything the 
  players say and do... especially in-character.  Aft er a session’s 
  over, think about all the various moments your memory has 
  collected.  What can be used to your advantage, to the story’s 
  advantage, and to the campaign’s advantage?
  Not Everyone Likes 
  Not Everyone Likes 
  the Same Things
  the Same Things
  Ideally, each session will have a variety of things to 
  recommend it.  You’ll have some combat, some intrigue, 
  some exploration, and a bit of roleplaying.  Not everyone is 
  going to love the entire session.  Th ere will be a few players 
  who really enjoy combat but not much else, while others can’t 
  wait to poke around the ruins and fi gure out how to reveal the 
  stairway leading beneath them. 
  Th at’s ok.  If a player or two look a litt le bored while the rest 
  are enthusiastically interacting with the dark elf delegation 
  or that dwarf who was supposed to be their guide but seems 
  more hindrance than help, so be it.  Don’t suddenly cut the 
  encounter short just because it’s not unanimously enjoyed.  
  Aft er all, we all have our favorite TV shows.  Yet, not every 
  minute of our favorite show is fantastic.  Sometimes, there 
  are slow parts or things we’d rather fast-forward.  But when 
  watching it with friends or family, we keep watching, lett ing 
  the anticipation build for those parts we’re super excited 
  about.  
  On the other hand, if you’ve been focusing on one pillar of 
  roleplaying for too long, it’s bound to irritate some people.  
  Once the encounter has come to its natural conclusion, 
  switch gears.  Th row the PCs a curve ball that exudes one or 
  both of the other pillars.
  Keep it moving
  Keep it moving
  Continually milk what you’ve got over and over without 
  bringing anything new to the table and your campaign will 
  eventually run dry.  Instead of cautiously adhering to the 
  status quo, you must occasionally risk it all, conjuring a new 
  place with unfamiliar characters surrounded by intriguing 
  wonders and unanticipated dangers.
  Change is the only constant.  Sometimes small changes, 
  sometimes big.  So, embrace chaos!  But it must be controlled.  
  Controlled chaos is key.  Like Zeus moving fi gurines around 
  in the original Clash of the Titans, actively guide the 
  campaign so your infl uence is subtly felt.  Th is should be done 
  every once in a while.  Th e rest of the time, leave mortals to 
  their own devices, making what they will of the world and its 
  inhabitants.
  Th e formula for success is incremental progress.  Litt le by 
  litt le (with occasional leaps and bounds), the entire campaign 
  
   18 
  Deeds of Might
  Deeds of Might
  Sometimes, a PC will want to do something extraordinary, 
  an action that goes beyond what he’s ordinarily capable of.  
  Such amazing acts should be att empted sparingly.  Th ough, 
  too much discouragement is also bad for the game.  But how 
  does a Game Master allow such a thing while preventing 
  mighty deeds from becoming the default option?
  Have the player roll a standard att ack but tell him that if 
  he’s going to att empt something outside his comfort zone, 
  he’ll be rolling at some kind of disadvantage.  If he makes it, 
  then his incredible feat succeeds.  If he doesn’t, then it’s an 
  ordinary failure… unless he rolled a natural 1, in which case, 
  something really bad occurs.  
  If it’s not att ack-based, then give the skill check a disadvantage, 
  following the above guidelines.  If the deed of might is sorcery, 
  grant the target a saving throw.  If he already gets a saving 
  throw, then give him advantage on it.  If it’s a diff erent kind 
  of spell (like increasing strength or turning rocks into mud), 
  then give it a 2 in 6 or 33% chance of failure.
  While shaving this morning, I came up with another 
  variation of VSd6.  Th is alternate version keeps the fantastic 
  friction fl owing without players constantly drawing from 
  that particular well.  
  Each session, players receive 7d6 (3d6 if you want a more 
  dark and desperate campaign or running a two-hour demo) 
  which they can spend on doing mighty deeds appropriate to 
  their race, class, experience, skills, abilities, and backstory.  A 
  player could roll 1d6 seven times, 7d6 once, 2d6 three times 
  with 1d6 left  over, etc.  No matt er how many dice are rolled 
  together, only the highest result is counted.  So, the more dice 
  rolled at once, the bett er odds that one of them will hit a high 
  number.  Below is the scoring system…
  6 = extraordinary success
  5 = success
  4 = mostly success but with some kind of drawback
  3 = partial success / partial failure; could also be a push 
  where there’s no result or something incredibly weird 
  happens!
  2 = failure
  1 = critical failure
  Doesn’t really matt er what you come up with mechanically, 
  just so long as players get the chance to do something truly 
  amazing from time to time!
  The Illusion of a lot 
  The Illusion of a lot 
  going on
  going on
  In order to make it seem like you’ve created a whole world, 
  don’t dwell on one or two things with paragraphs of detail.  
  Instead, describe fi ft een or twenty things with only the 
  briefest of mentions.  For instance:  “Th e bazaar contains 
  all manner of townspeople selling their wares.  Walking 
  through the square, your party receives nods of recognition, 
  a friendly wave of the hand, and smiles from the clockmaker, 
  bread maker, cheese maker, pastry chef, painter, puppeteer, 
  toymaker, carriage builder, carpenter, blacksmith, alchemist, 
  wizard’s apprentice, and three local gardeners carrying bushels 
  of vegetables.  Even the royal jester is here, entertaining the 
  town’s children.”
  Sounds like the place is full of interesting people, right?  A 
  world with a lot of litt le things seems fuller than one with 
  a couple of big things.  Obviously, both would be ideal, but 
  a Game Master doesn’t always have the time and energy to 
  fl esh out each and every corner of his campaign world.
  Rather than take a 
  Rather than take a 
  Five Minute Recess
  Five Minute Recess
  Occasionally, it’s helpful to have a litt le time, a respite from 
  the game’s constant demands on your att ention.  When a 
  trip to the bathroom won’t do and you’d rather not call for 
  a break in the action, give the players a brain teaser to keep 
  them occupied.  Th e following is a litt le something I came up 
  with.
  Th ere’s a metallic gizmo on the ground.  It’s diffi  cult to 
  determine just what it is or does.  Th ere’s a sphere about 
  the size of an apple, several coils, and a rod with several 
  red butt ons on its left  side.  [Wait for the PCs to investigate 
  the thing].  When reaching down to pick it up, your hand 
  is stopped a couple millimeters before it’s able to actually 
  touch the device.  Th ere doesn’t seem to be any way of 
  picking it up.
  Sure, you might be inundated with questions and att empted 
  actions, but aft er addressing them you should have a few 
  minutes to yourself while the players deliberate.  Use that 
  time to regroup, tweak the next encounter, or fi nd a way to 
  bridge something from the campaign’s past to its future.
  
   19 
  Breakup the 
  Breakup the 
  Campaign to make 
  Campaign to make 
  it last
  it last
  Break the campaign into pieces to avoid the campaign breaking 
  up.  Somewhere between the 7th and 10th uninterrupted 
  session, take a week or two off .  If a holiday, birthday, vacation, 
  etc. is coming up, then plan your break around that.  Let the 
  players know about the campaign intermission ahead of time 
  so they can make other plans on days you’re not gaming.  
  Non-gamer friends, family, and signifi cant others will also 
  appreciate you and the players having a weekend free every 
  other month or so.
  A break will stave off  Game Master burnout.  Th at week or 
  two of vacation will allow you to recharge your batt eries, stay 
  fresh, and see the campaign from a diff erent vantage point.  
  Rather than gaming for 15 or 20 weeks in a row and eventually 
  dreading upcoming sessions, a planned pause will leave you 
  wanting more.  With renewed vigor, you’ll set your sights on 
  bigger and bett er sessions instead of the never ending slog 
  that Game Mastering can sometimes degenerate into.
  It’ll also give you the chance to generate more material: 
  new monsters, magic items, spells, NPCs, locations, and so 
  forth.  Because who hasn’t fallen behind on their encounter 
  creation when Game Mastering every single week for months 
  on end?
  Best of all, each respite allows you to see each portion of the 
  campaign as its own book (with individual sessions being 
  chapters).  Each book requires some kind of beginning, 
  middle, and end.  Plan accordingly.  With predetermined 
  breaks, you can create a stand-alone mini campaign, two-
  parter, trilogy, or just keep going until the group has had its 
  fi ll.  
  TV series are doing this more and more.  Th roughout a 
  season, they’ll take one or more breaks.  Personally, I’m just 
  as excited to watch the mid-season fi nale as I am the season’s 
  last episode.  Game more by gaming just a litt le bit less.  
  Embrace the hiatus!
  Divide and Unite
  Divide and Unite
  One of your chief duties is to divide the party and then unite 
  them again.  Th is is not done by force.  Rather, you will 
  present an environment ripe with opportunities for both 
  separating coming together - usually because of a common 
  goal or threat.  Th is separation and recombination can be 
  emotional, intellectual, and physical.
  “Th e cavern before you has crude paintings on its eastern 
  wall while a mischief of rats crawls around a sizable streak of 
  quartz towards the southern part of the cave.  To the north 
  is the skeleton of an unlucky adventurer.”  Wait for them 
  to choose an encounter.  With a larger group, invariably 
  some will go one way and the rest will divide themselves up 
  between the second and third points of interest.  Take a few 
  minutes to savor each sub-group, answering questions and 
  dangling the hook of intrigue whenever possible.  
  “What does he have on him, you ask?  Th e corpse’s bony 
  hand clutches a lavender handkerchief.  You want to examine 
  it closer?  Th e faint odor of tantalizing perfume still clings 
  to it.”  At least one player will make the connection that 
  something is amiss.  If this adventurer died years ago, then 
  why can the PCs detect perfume?  More questions will 
  follow.  Such as, does the handkerchief look new?  “Yes.”  Be 
  direct and authoritative when need be.  Can we then assume 
  that the handkerchief was placed in his hand recently or he 
  became skeletal because of something he encountered rather 
  than years of decomposition?  “Perhaps...”  Be vague when it 
  suits your purposes.
  When you have a divided party (in the physical sense), it is 
  important not to let any sub-group take up too much time 
  before going to the next.  Around ten minutes is good.  Never 
  let it go past fi ft een.  Any more than that and the rest of your 
  players will grow antsy and bored, eventually leading to 
  resentment.
  Just before the separation has overstayed its welcome, rejoin 
  them with a new discovery.  Something on the ceiling is 
  lowering as a klaxon bell reverberates throughout the cavern.  
  Suddenly, everyone will rush to see (or hide from) whatever 
  is descending.  Now, they’re a united party again.
  
   20 
  And of course, one has to stay in the arch-mage’s good graces 
  or see all those piles of gold transformed into lead.  
  It might take time.  Learning when to ignore several players’ 
  momentary whining and when to listen to one player’s faint 
  praise takes practice.  Sure, there’s common sense to consider 
  and the tone of your campaign (cinematic vs. gritt y), but most 
  of all you have to be mindful of balance.  
  Th e balance factor is key because there is an underlying 
  sense of fairness and fair play at work.  It’s not being tallied 
  on a record sheet, but most players instinctively know when 
  the Game Master and his side are gett ing the upper hand a 
  majority of the time.  Even if the PCs aren’t gett ing killed, 
  don’t be the kind of Game Master who always has to “win” 
  or make the important decisions.  Lose occasionally and 
  gracefully.  Watch the players’ faces when they pull one over 
  on your clever NPC or fell your godling in a couple rounds.  
  Th ose moments are part of why they’re bothering to play at 
  all.  Indulge them from time to time.  
  I’ve learned that giving players a lot of small decisions can 
  make them feel more like they’re running the show.  Th ese 
  litt le choices might be rather inconsequential when it comes 
  right down to it, but having the power to decide, to choose 
  is important.  In return, the players will be more forgiving 
  on those rare occasions when you force them onto a narrow 
  track.  Railroading, that’s called.  Sometimes, it can’t be 
  helped but don’t make a habit of it.
  Ideal Session Length
  Ideal Session Length
  Decide on how long each game session will be ahead of 
  time.  Ideally, somewhere between 3 – 5 hours.  My personal 
  preference is 4 hours.  Th at’s long enough to get a lot of things 
  done, covering a lot of ground - but not so long that att ention 
  spans fade and/or schedules confl ict.  Few individuals have 5 
  or more hours of free time to roleplay every week.
  If you’re within 15 minutes on either side of the game’s 
  end time, that’s fi ne.  Anything less and you should start 
  scrambling to come up with another encounter.  Anything 
  more and you should fi nd an appropriate stopping point – 
  before combat begins if this next batt le is going to take too 
  long to resolve.
  Strangers at the 
  Strangers at the 
  Beginning
  Beginning
  Don’t force prior relationships (knowing each other) on 
  the PCs the fi rst session.  Let their acquaintanceship build 
  organically over the length of your campaign.  If players 
  come to you with an idea of being brother and sister, father 
  and son, best friends or bitt er rivals, that’s fi ne.  But generally, 
  you want characters to be unfamiliar with each other.  Why?  
  Because it’s diffi  cult to fake the kind of familiarity it’ll take to 
  be convincing.  
  Camaraderie doesn’t just happen when strangers meet or 
  when the Game Master snaps his fi ngers.  If you want it to 
  feel natural, it’s going to take time.  Look, the characters have 
  just been rolled.  Even the players hardly know who they are 
  (there’s also a chance that the players don’t know each other 
  very well).  Work with what you’ve got - a bunch of random 
  characters adventuring together.  Don’t be too eager to get 
  past the awkward stage of everyone gett ing to know one 
  another.  
  So, why are they adventuring?  Well, that depends on the 
  kind of campaign you want to run and what kind of opening 
  you want to use.  It’s so past cliche that it’s now a classic: 
  adventurers hear of an upcoming job and meet at the local 
  tavern to get the particulars.  As long as there are a few 
  unexpected twists and turns in that fi rst session, your players 
  won’t hold it against you.  Or maybe the village is under att ack 
  by giants, orcs, or zombies.  Did the PCs suddenly awaken 
  from cryo-sleep in the same underground bunker?  What 
  about assembling at the castle by royal command?
  Flexibility
  Flexibility
  Stick to your guns while giving in most of the time.  Yeah, it’s 
  tricky balance.  Don’t be too eager to please, but it’s a mistake 
  being too rigid.  Players don’t want to be at the mercy of a 
  penny-pinching accountant doling out gold pieces like they 
  were artifacts.  Nor do they want to be hemmed in by some 
  screen monkey putt ing the kibosh on all their great ideas.
  If you lavish the characters with riches, a castle, an army, 
  or several immensely powerful magic items, then you’d be 
  remiss to leave out the dark cloud surrounding those silver 
  linings.  Th row in a relentless mercenary who’s been hunting 
  for this or that most of his life.  Consider the taxes!  How about 
  being coerced into tithing to local churches and donating 
  to charities by the king’s personal bodyguard and assassin?  
  
   21 
  Preparation
  Preparation
  My personal golden rule about prep time is half of the 
  upcoming session.  Th at means a 4 hour game requires about 
  2 hours of preparation.  Shouldn’t matt er if you’re running a 
  published adventure or something you created.  Obviously, 
  the less time you prepare, the more improvising will have to 
  be done.  Sure, you could routinely go over 2 hours for all 
  your sessions, but that’s also part of Game Master burn-out… 
  something we want to avoid.
  Th e easiest way to prep is break things down into encounters.  
  Come up with the basics fi rst, like a band of goblins.  Th en 
  go deeper into that encounter or come back to that later.  
  Meanwhile, think up another encounter and how the party 
  and overall story might get from the fi rst encounter to the 
  second and the third, etc.
  Th roughout this book, you’ll get a taste for many diff erent 
  methods of encounter creation: improvisation, relying on 
  random tables, following the players’ lead, going through 
  the campaign checklist in Part II, etc.  Do whatever comes 
  naturally to you.  If your process is onerous, separate the 
  wheat from the chaff .  Create the barest of bones, a session’s 
  skeleton.  Embrace minimalism!  I recommend Sly Flourish’s 
  Th e Lazy Dungeon Master.
  
   22 
  Positive Aﬃ  rmations
  Positive Aﬃ  rmations
  Th roughout the campaign, your game will run smoother when 
  handing out pleasantries such as…  thank you, nice job, good 
  one, indeed, quite right, correct, well done, awesome, swell, 
  fantastic, agreed, nice catch, astute observation, well spott ed, 
  I’m glad you caught that, well played, much appreciated, 
  huzzah, good on you, excellent, thank god for the cleric, or 
  simply a high-fi ve.
  Rewards shouldn’t be aimed at just the characters.  Your 
  players will respond favorably to praise and will, in turn, look 
  more favorably upon your campaign, as well as, your Game 
  Mastering.  Do them a solid and give credit where credit’s 
  due.
  Intermittent Rewards
  Intermittent Rewards
  Give out rewards all the time and they become expected 
  rather than special and meaningful.  Give out no rewards 
  (or so rarely it’s almost the same thing) and you’re basically 
  a dick.  Th e key is to hand out the awesome sporadically.  Th e 
  majority of the time, there will be a rhyme and reason – a 
  direct correlation between positive outcomes and receiving 
  something cool.  Occasionally, the reward is bestowed 
  randomly.  
  Not only does it feel good to reward players and their 
  characters, you get to see their faces light up and they’re 
  genuinely happy [undemanding] for a period of time… it 
  also reinforces good behavior.  Such conditioning may seem 
  underhanded or inhumane (works great on dogs!), yet it’s the 
  foundation of civilization.  Do good work and occasionally 
  you’ll receive something nice… maybe validation, a magic 
  sword, or att ention paid to the thief’s backstory.  Doesn’t 
  matt er what the reward is.  Applied intermitt ently and heavily 
  weighted towards exceptional moments of gaming, you’re 
  campaign will evolve into something greater.
  Player Character 
  Player Character 
  Fixation
  Fixation
  Occasionally, an encounter (or aspect thereof) makes 
  the surrounding encounters pale by comparison.  If the 
  adventurers become fi xated on a specifi c detail in the game, 
  you have three options.
  Th e least useful is to shut them down by outright telling 
  them that there’s nothing to see here and they should move 
  on.  Th e next option is to give them what they want or at least 
  something tangible… a few crumbs to whet their appetite.  
  Last, you could confl ate the object of their fi xation until it 
  becomes the entire point of play, eff ectively dominating 
  the entire session, if not the whole campaign.  Th is option 
  requires a fair amount of improvisation if you didn’t come 
  up with anything beforehand.  If you don’t mind thinking 
  on your feet, I recommend the third option – the players are 
  hooked (which isn’t always easy), now just reel them in.
  In a recent game, I described and drew out a 10’ diameter seal, 
  lid, door, hatch, or something buried in the ground beneath 
  a crude stone altar used for human sacrifi ce.  Th e seal was 
  made out of an unknown metal with a mysterious symbol 
  both protruding and indented upon its surface: an eye within 
  a triangle within a circle.  Originally planned to be a minor 
  feature that I might exploit for some purpose at a later date, 
  the PCs just would not let it go!  Th ey tried numerous things 
  to open the thing or activate it in some way.  Everything from 
  meditating to spilling fresh blood upon it.  
  Th ough I assured them that nothing they were trying was 
  doing any good (seemingly the fi rst option), it wasn’t more 
  than a few minutes later before I successfully merged the 
  next encounter with that mysterious seal.  A visit from a dark 
  elf the PCs had previously met allowed me to keep them on 
  the hook.  Of course, they showed her the seal to see if she 
  knew anything.  Surprise, surprise… it turns out she did! 
  Unfortunately, she remembered seeing that symbol in a book 
  back at her dark elf city library.  Suddenly, the session took 
  a most unexpected turn, allowing me to save what I already 
  had planned for next week’s session.
  All roads should lead to whatever your players are super-
  excited about.  Some of them will be short-cuts, others long 
  and winding roads.  Harness their fevered imagination and 
  stall for time if you can’t think of anything awesome on the 
  spot.
  
   23 
  Rate of Encounter
  Rate of Encounter
  On average, an encounter should take about half an hour to 
  resolve, more or less.  Th at means you should average about 
  two encounters per hour.  Sometimes, you’ll only have a 
  single encounter per hour, other times there might be three.  
  If we assume two encounters per hour, each encounter should 
  have a beginning, middle and end.  Every encounter begins 
  with some kind of hook, even if it’s “You see something 
  moving over there”.  Th e middle involves gett ing to know 
  this encounter.  Players will familiarize themselves with the 
  situation via their characters’ interaction.  An encounter ends 
  when the players get what they need, go away empty handed, 
  or spring some kind of trap.  
  In a standard four hour session, you should prepare for 
  seven encounters.  Yes, I double-checked the math.  Seven 
  encounters in four hours accounts for a few minutes eaten 
  up at both the beginning and end of a session talking 
  about the concert you saw last night and pre/post-game 
  activities (leveling up, discussing rules, eating pizza, etc).  
  Additionally, some encounters might take a litt le longer to 
  resolve, especially the session’s epic batt le or fi guring out the 
  mystery whatchamacallit.  
  Seven is the magic number.  Pay att ention to it if you fi nd 
  yourself having trouble with encounter quantity.  Before 
  the game, if you don’t have at least that many encounters or 
  potential encounter ideas, you may have to improvise during 
  the game.  Knowing that a few encounters will have to be 
  improvised should heighten your awareness and get your 
  adrenaline going.  
  If the session ends before you can get to all your prepared 
  encounters, save the rest for later.  If you run out of encounters 
  and there’s still a lot of time, make something up or roll on an 
  appropriate table.  But let’s say you’re coming up blank.  What 
  then?  Well, you can do a number of things… 1) give the PCs free 
  reign to follow their nose, 2) circle back to an earlier encounter 
  that wasn’t fully resolved, or 3) page through a bestiary or manual 
  of monsters until something jumps out at you.
  If you’re rolling for wandering monsters and such, that’s 
  defi nitely going to save you preparation and planning but 
  there’s a cost – those encounters will either seem random, 
  straightforward, or both.  My advice: even if your notes or 
  published adventure calls for wandering monster checks, 
  restrict random encounters to one per session, two at the 
  absolute maximum.  Why?  Because at the end of the day, 
  they’re tangential obstacles that don’t further the campaign.  
  Keep fi ller to a minimum.  
  Making up for your 
  Making up for your 
  Mistakes
  Mistakes
  As Game Master, you share some of the responsibility for 
  record keeping, rule arbitration, and the legality of PC 
  actions.  If a player gets a spell wrong, miscalculates their 
  damage, or assumes wrongly that his character gets a bonus or 
  penalty, you’ll most likely have to deal with it – occasionally, 
  his fellow players will step up to correct the situation but a 
  Game Master cannot rely upon such things.
  My advice is to correct errors as quickly and best as you can 
  without making a big deal about it.  If the mistake came from 
  an inexperienced player, the blame falls squarely upon your 
  shoulders.  Simply explain the fundamentals (again) briefl y 
  so it doesn’t keep happening.  Give them an easy formula, 
  cheat sheet, or just circle the damned number if you have to.
  In a recent session, a player brought an out-of-town friend 
  to the game.  He had never played a tabletop RPG before.  
  I quickly created a 6th level fi ghter for him to play while 
  everyone was working on their own characters.  Th e fi ghter 
  had two att acks per round.  I wrote it on the sheet in big 
  lett ers next to his weapon.  However, I forgot to mention it to 
  the player.  A verbal explanation is three times more valuable 
  than numbers and words upon a character sheet.  It wasn’t 
  until halfway through the fi rst batt le that I remembered his 
  fi ghter should be gett ing another att ack each round.  To make 
  up for it I gave him three att acks on his next turn.  Aft er that, 
  things returned to normal.
  Admitt ing your mistake goes a long way towards showing 
  the players that you’re not only human but approachable.  
  Sometimes, saying “I’m sorry” or “my bad” is all that’s 
  required to accept responsibility and move on.  Of course, 
  there’s always doubling down on your error.  Every once 
  in a while you can skate through on that one, but I don’t 
  recommend it.  
  How can I put this as crudely as possible?  Hmmm… If you’re 
  having sex with a woman and orgasm before she does (despite 
  your best intentions), don’t ask her if she wants you to eat her 
  pussy.  Just do it.  
  
   24 
  Exceptional Players
  Exceptional Players
  Th e worst players are actively disruptive.  Th ey’re generally 
  annoyed, cranky, whiny, complaining, abrasive, rude, drunk, 
  high, belligerent, loud, or asleep.  Th ese are problem players 
  you should highly consider not inviting back or telling them 
  that you’re dropping them from the group.
  Average players mostly just sit there.  Occasionally, they pay 
  att ention, take their turn, ask a few questions, and participate 
  in whatever’s going on but will rarely take the lead.  Chances 
  are, they’re a litt le bit reserved, shy, introverted, insecure, 
  chill, or have a passive personality.  About half your players 
  (give or take a couple) will be average.  Nothing wrong with 
  that.  In fact, you probably wouldn’t have a game at all if you 
  only relied on exceptional players to game with.
  Exceptional players ask intriguing questions.  Th ey are the 
  most active, instigating, pushing the action forward, yet 
  know when to take a backseat… aft er all, not every encounter 
  can be about them.  Th ey consider their character’s history, 
  background, personality, and so on before speaking or taking 
  action.  Th ey take the time and eff ort to describe what they’re 
  doing and how they’re doing it.  Th ey are consistently paying 
  att ention and looking for an angle.  Th ey make suggestions 
  for expanding the campaign world.  If they ever criticize you 
  (which is unusual for them), it’s always constructive criticism.  
  Exceptional players go beyond the rules and will therefore 
  push you to be a bett er Game Master.
  If you have one exceptional player in your group, that’s good.  
  If you have two or three, then consider yourself very fortunate 
  indeed.  
  Session Write-ups 
  Session Write-ups 
  and Recaps 
  and Recaps 
  I’ve had thousands of conversations with my wife over the 
  past few years we’ve been together and I remember about 
  fi ve of them.  Th at’s the nature of memory, especially when it 
  comes to the spoken word.  So, for god’s sake, write it down!  
  Turn those hastily scrawled pre-game notes into a summary 
  of what happened.  If you don’t want to do it, then fi nd a 
  player who does.  Put it online if you like.  Adding pictures to 
  go with the text will help bring the session to life… just like 
  having illustrations on hand during the game.
  Before each session, have a player recap recent events – 
  especially if you’re coming off  a break.  Everyone should 
  Go where the Game 
  Go where the Game 
  Leads You 
  Leads You 
  If the session stars off  the way you planned but current 
  events are steering (or could easily steer) things in another 
  direction, away from your predetermined course, abandon 
  your notes and go with the fl ow.  See where the game goes.  
  You can always come back to your planned encounters later.  
  Listen to what the PCs are saying and doing but also pay 
  att ention to what the players are telling you, both verbal and 
  non-verbal.  If their eyes light up, they excitedly gesture, or 
  an extra ounce of enthusiasm enters their voice, you’ll know 
  they’re being swept up in the story.  If that’s the case, you may 
  want to take a side road you never even considered.  
  Th is is part of your job!  Allow them to go down that road… 
  unless you’re totally unprepared for what’s coming next and 
  just not feeling the improve vibe at the moment.  If that’s the 
  case, then let them travel just beyond the fi rst few steps before 
  an obstacle appears.  Maybe it’s an iron door, swirling vortex 
  of energy, or the way is being guarded by a three-headed 
  dragon.  Th is lets the adventurers know the path exists and 
  will be there for them later.  In the meantime, they can go 
  back to their original direction.  
  Group Size
  Group Size
  Any less than three players and I’d rather cancel the session.  
  With only two, both players have to be exceptional (see 
  Exceptional Players below).  
  As of right now, the largest group I’ve Game Mastered is 
  eleven.  Eleven players is a lot, but with this book, you’ll be 
  able to handle it.  Twelve is probably the absolute maximum 
  I’d ever go.  
  Ideally, your group should be between fi ve and eight.  Just like 
  classroom sizes, smaller groups get more personal att ention 
  while larger groups, though they can be a handful, increase 
  the total gaming overall.  Looking at it as gaming hours, you 
  take the hours per session and multiply it by the number of 
  players.  Five players at four hours equals twenty gaming 
  hours.  Th e more you run, the more experience for yourself 
  and joy you’ll bring to others.
  
   25 
  be up to speed on what occurred last game – unless there’s 
  an in-game reason for their ignorance.  If you notice an 
  inconsistency between what players remember and what 
  you mentally pictured, take a second to analyze that.  If 
  it’s something obvious, like the lizard men were actually 
  scorpion men, then correct away.  However, if that player 
  recalls the wrong command words of a magic weapon, then 
  that player’s faulty memory just so happens to coincide with 
  that of the character.  Of course, if the player mentioned that 
  his character was writing the information down as soon as 
  he heard it, then you’ve got to give him credit for knowing… 
  assuming he got the right information in the fi rst place.
  Add another Layer
  Add another Layer
  You don’t want to overcrowd your campaign with an avalanche 
  of details, encounters, villains, items, NPCs, places, special 
  circumstances, and puppet masters orchestrating everything 
  from behind the scenes, etc. But chances are, that won’t be 
  your problem.  Instead, you’ll be worrying about the reverse.  
  Will there be enough?  Will the meager setup, hook, and 
  dungeoncrawl be enough to entertain the players?  Will it 
  give their characters enough to sink their teeth into?  
  Chances are, your session - somewhere along the way - could 
  do with another layer.  Th is might be a wrinkle, hiccup, 
  inconvenience, or distraction that the PCs will have to 
  contend with while saving the princess, the kingdom, or 
  maybe just their own asses.  Introduce an aspect of this new 
  layer early on in the campaign.
  As a suggestion, you could introduce an ancient method of 
  transportation - how about a monorail system?  First the 
  adventurers stumble upon these stone monoliths rising high 
  up into the trees.  Th e tall, smooth stones have numbers 
  chiseled into them.  Th ere’s a lot of them - one about every 
  50’.  Before the PCs can do any serious investigating, there’s 
  a band of bloodthirsty orcs at the ready.  And one of them has 
  a talking sword.  It speaks only infernal so everyone assumes 
  it is evil.  But maybe it isn’t?  Perhaps that’s the only language 
  the blade remembers because it has been languishing in some 
  plane of hell for a thousand years.  And a dark sorcerer - the 
  kind who wouldn’t give a second thought to torturing the 
  entire party - has been tracking it.  Does the sword know 
  about the sorcerer?  What’s their connection?  Is there a third 
  party... a fi ery demon with yellow eyes that bridges the two?  
  Perhaps the demon won the sword in batt le, lost it during a 
  freak dimension storm and now wants it back.   Is that demon 
  the sorcerer’s patron?
  
   26 
  Based on all that, you could add another layer by giving a 
  1 in 6 chance of encountering a dimensional storm every 
  day the PCs are within 100’ of the sword.  What do these 
  dimension storms look like?  Are they a shimmering fi eld of 
  purple, magenta, and red illumination cut through with black 
  lightening from some lightless abyss?  If one is caught within 
  it, is there a 33% chance of being sucked into hell or some other 
  dimension... an alien world?  What sort of creatures might 
  escape from these storms?  Th e oozing spawn of Cirellian 6?  
  Are they immune to everything except crystalline weapons?
  Gett ing back to the monorails, who might have been traveling 
  them a hundred years ago?  What did they leave behind… a 
  wristwatch?  Is there a super-computer on the other side of 
  the world who wants it operational?  If so, how many robots 
  will it send in order to repair the monorail?  Who controls 
  the super-computer and who wants to see it melted down for 
  scrap?  Th ere’s always another layer just around the corner.  
  Flatlining the 
  Flatlining the 
  Burning Chrome of 
  Burning Chrome of 
  Chiba City
  Chiba City
  “Th is neuromance makes my motherboard hot.”  -  Tron Girl
  Back when I was fi ghting in the war of loose-fi tt ing garments 
  on New Venus, I received an x-txt from our friend with the 
  triangle tatt oo.  Apparently, Zenfrill no longer feels like 
  wizarding-up the eye of fuchsia fl ame.  Let’s go get that 
  bastard, bring him down to the Bandstand Boogie!
  Confusing, wasn’t it?  Th is is an important technique I 
  wanted to show you.  Did you know that William Gibson’s 
  Neuromancer was infl uenced by John Carpenter’s Escape 
  from New York?  Th ere’s a throwaway line in the fi lm, 
  the Warden talking to Snake: “You fl ew the Gulfi re over 
  Leningrad, didn’t you?”  Th is casual reference implies 
  things the audience on the outside doesn’t know; making 
  the fi ctional world seemingly larger and more complex.  Th e 
  largeness and complexity fools our brains into thinking 
  that they’re more real, when actually… it’s all just a bunch 
  of made-up gibberish, unfamiliar jargon and slang, and the 
  likely combination of disparate words and phrases that our 
  minds may conjure.  Gibson knew the power of it, and now 
  so do you.
  Overuse will either confuse an audience or piss them off .  In 
  rare circumstances, confusion is a good thing – when it serves 
  a purpose such as the disorientation of waking from a coma 
  or culture-shock of suddenly having to live in a foreign land.  
  But more than likely, you’re aft er a taste of strange, not a four-
  course meal.  In that case, go for the casual reference with 
  no more than three fi ctional words or phrases that you’ve 
  manufactured… or stolen from something you’ve watched, 
  read, heard, etc.
  You get out what 
  You get out what 
  you put in
  you put in
  As Tyler Durden said, “You decide your own level of 
  involvement.”  Players merely have to show up occasionally, 
  answer the Game Master when he asks them questions, and 
  roll the appropriate die upon request.  Th ese are your lowest 
  common denominator players.  Hopefully, a few of your 
  players will put more of themselves into the game than that.  
  I touched on this earlier (or if you’re reading this part fi rst, I’ll 
  touch on it later).  Exceptional players and those in-between 
  will go the extra mile, taking advantage of opportunities both 
  during the game and aft er.  
  I enjoy reading post-session emails from players.  Most of the 
  time, they want to tell me about an idea they had - some point 
  of interest for their character. It could be a possible hireling, 
  search for information, desire for magical components, 
  reading forbidden tomes, learning another language, basket 
  weaving, etc.  Whatever it’s about, incorporate some or all of 
  their ideas into the next few sessions.  
  Whenever possible, build on player feedback and character 
  pursuits.  If the party wizard wants to form his own secret 
  society or magic circle, let him.  If the party rogue desires his 
  very own thieves’ guild, capitalize on that.  Not only does it 
  reward players for putt ing more of themselves into the game, 
  it takes a litt le of the creative burden off  you.  Of course, 
  don’t just leave it at that.  Take a few moments to think about 
  how events might come about or what could transpire aft er 
  things get off  the ground.  Maybe several astrologers notice 
  a disconcerting patt ern in the night sky... a constellation 
  promising strife and upheaval along the northern border.  
  And that thieves’ guild would surely att ract a few charming 
  con men who’d love nothing bett er than to artfully steal the 
  guild away from the party rogue.
  Now, you can bolster the percentage of players giving 
  feedback by specifi cally asking for this information, but 
  even that might not yield a majority of the table.  Don’t get 
  upset about lack of post-game participation.  Simply make 
  use of what you receive and be grateful for that.  Begging and 
  
   27 
  How realistic is it for adventurers to keep slogging through 
  those caverns if they aren’t improving their trade?  Might as 
  well turn back and keep ploughing that fi eld!
  Leveling up is a nice reward for a job well done.  Th ere’s plenty 
  of time to be stingy with experience points and granting levels 
  down the road.  But even if you decide to delay gratifi cation, 
  there’s absolutely no reason to make the PCs wait more than 
  two full sessions before reaching the next level or having 
  experience points enough to upgrade their adventurers.
  Experience
  Experience
  Some Game Masters like to go by the book, others would 
  rather level the party as a whole when the time is right.  No 
  more than three sessions should go by before the next level 
  is reached.  Even if the PCs just seem to be farting around, 
  not really doing much of anything.  Because if they aren’t 
  fi nding adventure, the Game Master is partially to blame.  
  Don’t penalize the players or their characters because you 
  like watching them squirm in the mud or dangling from your 
  fi nely craft ed fi shhook.  Stop being a sadist, get on with the 
  business of creating circumstances ripe for adventure, and 
  let’s move the fuck on already!
  One last thing about experience… if you aren’t keeping track 
  of the individual XP, pay att ention to acts of bravery, as well 
  as, roleplaying.  If the party wants to risk it all by fi ghting 
  something well beyond their abilities, the survivors must be 
  rewarded accordingly.  It stands to reason that those risking 
  life and limb should gain levels faster than cautious types, 
  even if the batt le itself doesn’t take more than a couple rounds.  
  Aft er all, things could have gone much diff erent.  
  Initiative
  Initiative
  Th e bigger the group, the more diffi  cult it is to track who 
  goes fi rst, next, now, and who went last.  Constantly looking 
  back at your initiative order is tiresome and time consuming.  
  Leaving it in the hands of a player, I’ve found, isn’t much 
  bett er.
  For big groups, I just go in order of seating.  First, I determine 
  if the monsters have surprise.  If it’s unclear, make a roll.  If the 
  monsters get the jump on the PCs, then I start with myself. 
  If they don’t, initiative begins with the person immediately 
  seated to my left .  Once they’ve gone, it’s the person to their 
  left  and so on.  When it comes back to me, I have the monsters 
  pleading is undignifi ed and won’t aid your cause.  Chasing 
  aft er players, hounding them for their post-session surveys 
  also sends the wrong signal.
  Visual Aids
  Visual Aids
  Whenever possible, have something to show the players.  It 
  may be the picture of a monster, map, sketch of their latest 
  hireling, or 3D model of the dungeon their crawling through.  
  Every session, you should have at least one thing the players 
  can see.  
  Sure, we can all visualize what the Game Master is droning 
  on about in our mind’s eye.  Go the extra mile when you can.  
  Even a toy maraca underneath the table could be the ratt le 
  of a giant snake further down the corridor.  At the very least, 
  you could write-up a blog post about the previous session, 
  including pics found on the internet.  Maybe you didn’t 
  sell the ferociousness of that demon lord when it att acked.  
  A picture of him could really solidify what you intended – 
  something that will seep into a player’s subconscious.  Bett er 
  late than never.
  Always Level Up 
  Always Level Up 
  after the First 
  after the First 
  Session
  Session
  I can remember playing in this Empire of the Petal Th rone 
  game a couple years back.  Upon fi nishing the second session, 
  our characters didn’t have experience points to get beyond 
  1st level.  We probably weren’t even close!  Th at was my last 
  session of that game.  Th ankfully, that’s not what I remember 
  of old school AD&D games back in the 80’s.  A long, long time 
  ago I played a fi ghter named Route.  Th e odds were against 
  him but I rolled prett y good and probably made a couple 
  smart decisions along the way.  Before I knew it, I was 2nd 
  level, then 3rd, and not too long aft er 4th.  Route (or maybe 
  it was Root?) started looking like a hero.  Progression is part 
  of the tabletop RPG experience.  Taking it away makes some 
  players feel cheated.
  At the end of the fi rst session, even if that includes an hour 
  or so of character creation, the survivors should achieve the 
  next level.  Th is does a couple of things.  It shows progress, 
  giving the players incentive to keep playing your game (they 
  don’t have to, you know).  It also motivates the characters.  
  
   28 
  Matching Dice
  Matching Dice
  Mismatched dice might be your idea of shabby chic, but it 
  usually comes across as sloppy.  Like you didn’t care enough 
  to properly prepare for the game.  Your dice should match 
  or, at the very least, be color coordinated.  It’s just a sign of 
  professionalism – that you’re passionate about the craft .  
  Having dice that look as if they all come from the same set 
  makes you look (and hopefully feel) like a fucking boss of a 
  Game Master.  Even bett er, come with a spare set of matching 
  dice that noobs and players who just came from work or the 
  gym can use.
  att ack and it repeats.  While not terribly “realistic”, it gets the 
  job done when I have a group of 8 or more players.  
  If you have a small to medium sized group or just simply hate 
  the idea, then come up with your own system or borrow one 
  of hundreds available in various rulebooks and all over the 
  internet.  As long as you and your group likes it, it’s fi ne.
  Should NPCs be 
  Should NPCs be 
  involved in Combat?
  involved in Combat?
  Frequently, there will be one or more NPCs tagging along.  I 
  like to keep these folks in the background unless they have 
  something substantial to contribute.  For instance, if an NPC 
  hanger-on is an alchemist and the adventurers require some 
  alchemy, then it makes perfect sense for him to step into the 
  spotlight and do his thing.  Fighting alongside the party is 
  another matt er.
  Th ere are three reasons for why I sideline NPCs during 
  a fi ght (especially if you have a full table).  One, the PCs 
  are the heroes.  As the Game Master, you don’t want to be 
  front and center, enjoying the att ention.  I’ve fallen into that 
  trap; it leads to the dark side.  Two, combat will inevitably 
  take longer.  If the party has more fi repower, then you’ll 
  probably have to beef up their adversaries in order to make 
  it challenging.  Th ree, equal participation in batt le should 
  mean equal shares of treasure.  Are the adventurers really 
  going to be happy dividing the loot between everyone who 
  charged the dragon?
  If the players seem dissatisfi ed with that, there’s always 
  compromise.  Let a player who’s willing and able take on a 
  single NPC during combat do so.  You as Game Master will 
  resume responsibility aft er the fi ghting ends.  Such NPCs 
  don’t get special actions, class features, luck, advantage, 
  bonuses, or anything special.  Th ey get to do one thing each 
  round, that’s it.   If an NPC is up there swinging (or even in 
  the back casting or fi ring arrows), he’s a legitimate target.  On 
  the rare occasion where you might fudge a roll in order to 
  spare a PC’s life, never do that for an NPC.  Th ey deserve 
  everything they get for att empting to hold their own next to 
  the real adventurers.  
  
   29 
  Th ere is a corollary (with two parts) to my imploring above.  
  1) If a Game Master wishes his dice to be purposefully 
  eclectic, he may choose a set of varying colors – though there 
  should still be a singular quality to these mismatched dice.  
  Th ey might be black, yellow, red, blue, green, purple, etc. but 
  maybe they all have white numbers or they’re all solid plastic 
  rather than translucent.  2) Th ere is a certain appeal to the 
  massive bag, box, or tub of dice.  A receptacle containing 
  every kind of die imaginable.  If you must lob your dice horde 
  onto the table, then proudly reach your hand amongst the 
  dice until you’ve plucked just the one or ones you need.
  Additionally, I like having a dedicated space in front of me for 
  rolling dice.  If you use a Game Master screen, that’s fi ne.  Roll 
  behind the screen.  If you don’t use a screen or anything else, 
  then it’s possible your dice are frequently rolling off  the table, 
  into a player’s dice, or into the pizza!  Th at’s just one added 
  distraction you don’t need.  I have a 12” x 12” wooden dice 
  tray that I love to use.  I wood-burned sigils into it (which I 
  occasionally use for giving results a litt le extra zing), stained 
  it, sealed it, and love the thing to pieces.  I never roll dice 
  outside the box.  Plus, it’s handy for holding spare pencils, 
  pens, dice, markers, cards, and lightweight books.
  Ambience
  Ambience 
  Some Game Masters prefer a certain kind of ambience… 
  candles (perhaps scented), soft  lighting, bright lighting, barely 
  any lighting at all, colored lighting (eldritch green?), dark 
  ambient tones, heavy metal, the soundtrack to Conan the 
  Barbarian or Star Wars, etc.  Give some thought to what your 
  gaming space says about the game you’re running.  If you have 
  no control over the space, ask yourself what you can control. 
  If the answer is hardly anything at all, then ask yourself if you 
  should move your game to a more suitable venue.
  If you prefer to have a neutral sort of ambience, then consider 
  changing things up for the occasional special session.  Are 
  the adventurers exploring a strange new dimension?  Have 
  they entered the inner-sanctum of Mestema?  Will part of this 
  session involve a dream sequence?  Are you taking a break from 
  your usual fantasy RPG to investigate the cinematic universe 
  of Dario Argento?  If so, then break out the lava lamp, glow 
  sticks, light bulb surrounded by thin colored fabric, colored 
  light bulb, or whatever your imagination can come up with.  
  Weird colors will give your game an otherworldly feel.  So, if 
  that’s the vibe you’re going for, then weird it up.  
  Strange sounds can also be extremely eff ective.  Create an 
  unusual sound underneath the table; use a tape recorder 
  full of clicking, buzzing, and muffl  ed screams; or use a CD 
  containing appropriate audio.  If it’s just for a single session, 
  go nuts!  Your players will let you know if it’s working for 
  them or if this experiment was trial and error.
  The Die is Cast
  The Die is Cast
  When the die or dice have been rolled, that’s the way things 
  go… unless there’s a very good reason for ignoring them.  
  Occasionally, you’ll get an amazing idea while the dice are 
  in the air or just as they’re landing on the table.  Sometimes, 
  you’re expecting a certain result (when there’s a 90% chance 
  of success or failure, for instance) and then the 10% suddenly 
  becomes reality.  Or you realize that amount of damage will 
  kill Laveshorr the half-elf warlock who never gets an even 
  break.  In fact, you killed Ted’s character last session and 
  then two sessions before that, mostly due to poor rolling on 
  his part and great rolling on yours.  And the next scene was 
  going to be Laveshorr’s big moment, his redemption!
  Yeah, sometimes you’re going to want to fudge the results.  Rather 
  than seeing it like that, let’s call it taking another path… the road 
  less traveled.  Do it too much and the players might start to feel 
  that the game is unfairly weighted towards the Game Master’s 
  wishes – even when things tend to work out in the party’s favor.  
  Remember those sleepers in the Matrix who kept waking up 
  because they lived in a Utopia (albeit an artifi cial one)?  Entire 
  crops were lost.  Nevertheless, there will be occasions when 
  making a conscious choice is bett er for the game than simply 
  lett ing the dice decide an outcome every time.  
  Use their Character 
  Use their Character 
  Names
  Names
  When it’s John’s turn to act, I try not to say, “Hey, John, 
  are you going to att ack or what?”  Instead, I might say, “It’s 
  Xarred’s turn.”  Or, “What’s Xarred going to do now that 
  he’s lost his right hand?”  It’s a small thing (as most of these 
  suggestions are) but they add up.  Using a character name 
  whenever possible retains a bit more of the roleplaying than 
  using a player’s real name.  Obviously, if you want John to pass 
  you the bowl of chips, don’t call him Xarred.  But anything 
  that could be construed as in-game or in-character should be 
  Xarred, not John.
  If you’ve got a decent sized group, you may have a diffi  cult 
  time remembering everyone’s character name for the fi rst 
  
   30 
  you’re over, then the normal outcome occurs.  Same thing with 
  the d6.  If the result is a 1 or 2, narrate the minority report.  If 
  the result is a 3, 4, 5, or 6, then it’s business as usual.
  With a percentile, it can tell you a bit more.  For instance, 
  let’s say a player says, “Don’t drink it, may be poison.”  So, 
  you roll to see if it is or not.  A roll of exactly 01 means that, 
  yes, the canteen’s water is poisoned and not only that but it’s 
  a highly toxic save versus death kind of poison.  While a 35 
  might indicate that the water is stale or that it’s actually wine 
  that has gone bad (tastes like vinegar).  Maybe 98 means it’s 
  extremely fresh… from a nearby mountain stream.  Does it 
  have restorative properties?  Either make a unilateral decision 
  or roll again to see what the oracle tells you.
  It’s up to you if you want to divulge that information to the 
  players.  Knowing the stakes and your methodology shouldn’t 
  diminish their enjoyment, but sometimes it’s best to keep 
  them guessing.
  Speciﬁ c and Vague
  Speciﬁ c and Vague
  You should alternate between the specifi c and vague.  You 
  might not know when to use one rather than the other (there’s 
  no hard and fast rule) but listen to them in your head before the 
  game and watch for the players’ responses during.  Constantly 
  referring to “the old church” will have a diff erent eff ect than 
  calling it “Houndstooth Abbey.”  “Fireball” has its uses, but so 
  does “searing emerald fl ames closely followed by the smell of 
  burnt fl esh.”  Th e latt er usually having more impact.
  Repetition can make awkward or unfamiliar words and 
  phrases sound commonplace.  If you fi nd the perfect wording 
  for a thing, keep using it.  Th e second or third time it’s used, you 
  might start feeling self-conscious.  Disregard your insecurity.  
  If it resonates with power, milk it for all it’s worth until that 
  word or phrase becomes a mantra… a persuasive litany that 
  cannot be denied, seeping down deep between the cracks of 
  reality until it coats the very foundation.  Suggestions:  her 
  face like a golden mask; the idol’s mesmerizing eyes and 
  sinister lips; a violet dream-like cloud; an incessant, feverish 
  drumming; the pungent fragrance of spicy, garlic shrimp; or 
  he will come for you in the night.
  I’ve been re-watching the TV show Lost.  Th e dark territory 
  is a swathe of jungle where most people shouldn’t go.  Of 
  course, the name itself does a good job of warning people 
  off .  I mean, who except for intrepid explorers would travel 
  to a place called the dark territory?  Lost does the same thing 
  with “the hatch”, “the butt on”, “the others”… you get the idea.  
  few sessions.  Simply write out their name on a piece of stiff  
  paper and have it facing you, right in front of each player.  
  Either that or write out everyone’s name on a sheet of paper 
  corresponding to where each player is sitt ing.
  That 15%
  That 15%
  Th is suggestion goes for published adventures, too.  No 
  matt er how complete the scenario you’ve purchased, it’s not 
  fi nished until you’ve put your own spin on it.  Th at last litt le 
  bit must come from you, your experiences, your preferences, 
  and your aesthetics.  If you use a pre-packaged adventure 
  100% “as is”, something about it will feel hollow or forced 
  or pale by comparison – maybe not to your players but deep 
  inside yourself… you’ll know.  Th e adventure could have 
  been bett er if only you had [fi ll in the blank].
  Additionally, the way you run the game will make it inherently 
  yours.  Even with the same exact 85%, you and I would each 
  be creating a unique gaming experience.  Our performances 
  would be diff erent, the outcomes based on dice rolls would 
  be diff erent, and player choices would also vary.  But most of 
  all, the 15% makes it personal.  
  When tabletop roleplaying games become so standardized 
  and predictable that you can’t tell the diff erence between a live 
  experience and a computerized one, then the game has lost some 
  of its magic and we might as well be interfacing with a dragons 
  and dungeons mainframe in some vault deep underground… 
  hey, that gives me an idea for a new campaign!
  The Saving Grace of 
  The Saving Grace of 
  33%
  33%
  Even with all the world’s improvisation techniques, it’s nice 
  to have an ace up your sleeve.  Mine is 33%.  I’ve writt en about 
  this multiple times because it’s one of the most powerful 
  instruments in my Game Master’s toolbox.  If you don’t know 
  about a certain thing, make a roll.  
  You will face many a decision at the table.  Th ere will be the 
  logical outcome… but then there will also be a chance for 
  something unusual and unexpected – the minority report.  
  When you think of a possibility that might be hilarious, 
  intriguing, awesome, tragic, or just plain bizarre, then roll the 
  dice!  You can either roll percentile dice or merely a six-sided 
  die.  If it’s the former, a result between 01 and 33 means that 
  weird possibility is happening or has already happened.  If 
  
   31 
  for charisma, there was no fear of rolling bad. Assuming you 
  were able to move your scores around, charisma is where you 
  put your unfortunate 6.
  Modern editions have character classes that hinge upon 
  charisma, but even gamers using the new stuff  can make use 
  of this hidden benefi t.
  A character with high charisma has license to be a jerk, cad, 
  scoundrel, ass, buff oon, bounder, rake, scalawag, or creep. 
  Why? Because a charming asshole with pleasing features 
  and rapier wit can get away with loathsome manners and 
  atrocious behavior without facing an exile ultimatum. And 
  even aft er that PC pushes his luck, the heel can probably fi nd 
  a way to weasel out of expulsion.
  Sure, the other players at the table might bristle at your 
  detestable antics. Nevertheless, that high charisma shields 
  you from their wrath. Aft er all, you hold the group together 
  with your magnetic personality.
  So, the next time you fi nd yourself with an extraordinarily 
  charismatic character, remember that you can do more than 
  att ract followers. You can be an utt er bastard, too!
  Missed Opportunities 
  Missed Opportunities 
  part I
  part I
  Every session will have at least one.  I’ve only had a couple 
  dozen perfect sessions in my lifetime of a thousand games.  
  A missed opportunity doesn’t mean anything went wrong, 
  just that something could have been adjusted, mentioned, 
  reversed, observed, disregarded, allowed, ignored, repeated, 
  or shown in order to put that session over-the-top.  
  Highlighting these tiny moments aft er your sessions (writing 
  them down in a session report helps tremendously) will go a 
  long way towards remembering them.  Remembering them is 
  key because if you keep a missed opportunity in mind, there’s 
  a bett er chance of catching yourself when it counts.  Th e goal 
  is to see a missed opportunity in the moment, just before it 
  happens and actually do something about it.  Th is is Game 
  Mastering in the zone.  
  Eventually, your sessions will have fewer missed opportunities 
  and you’ll be well on your way to perfect session aft er perfect 
  session.  Don’t keep kicking yourself because you forgot to 
  show the picture on page 23 of that gelatinous octagon, never 
  bothered to come up with a name for that half-elf NPC, or 
  didn’t see the connection between the fi re giant and the ice 
  Using words and phrases such as “the stranger” are abstract 
  enough to let subjective imaginations run wild, while being 
  defi nite enough for everyone to get the basics.
  What about cultists who keep going on and on about “the 
  sacred object” or “the great work”.  Such phrases are both 
  specifi c and vague enough for us to imagine what they’re 
  talking about while leaving enough room for our own 
  interpretation.  When the big reveal comes (if it comes), you 
  can go one of three routes:  1) Anti-climax.  Whatever it is 
  is silly, dumb, or utt erly ordinary.  2) Extraordinary.  You do 
  your best to either meet or exceed player expectations.  3) 
  Obscure.  Even though it has been revealed, there’s still a 
  good deal of mystery surrounding the object, work, etc.
  Law of Diminishing 
  Law of Diminishing 
  Returns
  Returns
  Use it but don’t overuse it.  Th e more you rely on a certain trick 
  or technique, the greater odds of it turning into a crutch.  If you 
  fi nd yourself going back to the same well over and over again, 
  chances are you need a change (maybe a drastic one) or else 
  that particular well will run dry… assuming it hasn’t already.  
  Surprise yourself by doing something totally outside your 
  comfort zone for a session, then take a cold hard look at the 
  campaign as a whole.  If you’ve overused something to the 
  point where it’s predictable, go in a diff erent direction… keep 
  stretching yourself until you’re Game Mastering evolves.
  The Hidden Beneﬁ t 
  The Hidden Beneﬁ t 
  of a High Charisma
  of a High Charisma
  So, I was running this game a few days ago. Th e half-elf 
  tiefl ing warlock was obnoxious, instigating action from others 
  by calling his fellow companions “coward” and pawning off  
  his murderous intent on a fellow tiefl ing dwarf. Zatar was a 
  blatant bastard of a PC.
  It wasn’t until the end of the session that Zatar’s player 
  mentioned something important - if it wasn’t for his high 
  charisma, he’d probably be thrown out of the party. Well, 
  that’s what this article is about.
  Back in the old school days, charisma was kind of a dump 
  stat. If you were rolling in order, you prayed for good luck 
  on strength or maybe dex, int, etc. When it came time to roll 
  
   32 
  trolls until aft er the PCs moved on to a diff erent dungeon.  
  You missed an opportunity to do something really special, to 
  go one step further.  Oh well.  Like I said, it happens all the 
  time.  Simply be mindful of such things in the future.
  Missed Opportunities 
  Missed Opportunities 
  part II
  part II
  Game Mastering is hard work, partly because the job is 
  never really done. Post-game analysis is just as important 
  as pre-game prep and managing the actual gaming sessions 
  themselves.
  Speaking from personal experience, my post-game analysis 
  consists of three elements: 1) pros - what went right. 2) cons 
  - what went wrong. 3) missed opportunities.
  Th e fi rst couple elements are prett y self-explanatory. Th ere are 
  both high and low points in practically every session. Only a 
  handful of 3 - 5 hour sessions in a lifetime either go unilaterally 
  awesome or terrible. However, it’s the third element I’m 
  focusing on in this piece... missed opportunities.
  “Wait a minute!” I think to myself hours aft er the players 
  have dispersed. “I could have tied that fi rst encounter to the 
  last - framing the entire session with the cannibal secret of 
  BlackHawk Manor.” Or, “Damnation! Why didn’t I go with 
  the fl ow and improvise an encounter with a gnome gem-
  cutt er as Dave suggested during character creation?  Could 
  have used my new stupid gnome hat table!”
  Yes, even when an encounter or scene goes well, there’s 
  usually something that could have been done - something we 
  usually think of later - that might have taken it to the next 
  level. Th e game mastering equivalent of a critical hit.
  Th ose missed opportunities are the gaps between a good 
  Game Master and a great one. Pondering them is a start; 
  realizing that a session could have been improved just by 
  incorporating a spooky voice along with the magic sword, a 
  special magical eff ect for being drenched in green slime, or a 
  minor detail to illustrate that elven scroll.
  Eventually, the conscious mind (our awareness of missed 
  opportunities) seeps down into our subconscious mind (the 
  primal creative fi re). Th at combination betwixt conscious 
  and subconscious is the process of Game Mastery.
  To run the game without refl ection (including self-refl ection, 
  of course) is to do the same thing over and over again without 
  evolution, for no Game Master is perfect! Being mindful of 
  the game, watching it with an eye (the third eye) open wide 
  - the before, during, and aft er - that is crucial if we are to 
  progress. Th at path leads to a bett er game. A mindful GM 
  should incrementally improve every single session he runs.
  Good luck noticing those missed opportunities. Th e more 
  you look, the more you’ll fi nd. As I said, awareness is key. 
  Knowing that improvement is possible will force a select 
  few to struggle for advancement… over and over again. Th at 
  inner-force takes over if the Game Master is willing. It’s 
  called initiation.
  No Forward, just 
  No Forward, just 
  Failure
  Failure
  By now, I think prett y much everyone has heard of the 
  phrase “failing forward”. For those who haven’t, here’s the 
  rundown. It’s about saying, “Yes, you manage to grab the vine 
  before plummeting to your death, but now there’s a hungry 
  Pterodactyl circling above.” Or this, “No, the demon grabs 
  the scepter before you can reach it; however, in the demon’s 
  haste, a ring fell out of his black pouch... the ring of power!”
  To fail forward is just a path of partially successful stepping 
  stones leading from one danger to another until the very end, 
  when the heroes save the day. Th ings seem to only get worse – 
  yet the protagonist is still alive, so there’s always a chance he can 
  turn things around.  You see it a lot in movies, TV shows, and 
  books. It’s a worthwhile technique that defi nitely has its uses.
  Indeed, depending on the system and genre, I think that’s 
  a great way to run a session or campaign. Something like 
  Hollow Earth Expedition or Star Wars - that style is well 
  suited to failing forward.
  But then there’s actual failure. Th e kind where things just do 
  not work out and there’s no silver lining to save anyone’s ass. 
  Th at’s the old school stuff  that some contemporary Game 
  Masters eschew. I understand why. Players like it when 
  they’re given chance aft er chance aft er chance, like a never 
  ending lifeline... the Game Master guardian angel waiting in 
  the wings, making sure no one fucks up too bad. And if the 
  players are happy, then the Game Master is usually happy. 
  Everyone’s having fun. It’s a good game.
  But do we always want a happy ending? Roleplaying can do a lot of 
  things. It’s not only for generating a 3 or 4 hour action adventure 
  story that’s fun for the whole family. Occasionally, gamers want 
  something with teeth, that bleeds. A hardcore session or campaign 
  that makes lesser gamers run home to their mommies.
  
   33 
  Th ere’s got to be something you can do to Game Master 
  bett er. Find out what that is and go for it. Consider giving 
  yourself some well-deserved Game Master XP each time 
  you illustrate the crushing of an enemy’s skull, rolling on a 
  reaction table, or nailing that smarmy duke’s persona with a 
  condescending chuckle.
  Here’s the thing about incremental progress... over time 
  it yields huge changes and big results. Improving a litt le 
  something in session #1 and then a litt le something else in 
  sessions #2 and 3 can lead to a whole new you by #111.
  Sure, this takes a bit of eff ort, but if you sincerely want to 
  improve your Game Mastering technique, this is the way to 
  go. How else are you going to reach 20th level - by kicking the 
  dragon’s ass at 1st?  Hells no!  It takes discipline to keep at it 
  session aft er session until you look back at yourself one day to 
  fi nd yourself changed.
    
  Yes, sometimes we want to play a rough and tumble, quick and 
  dirty, dark and deadly old school kind of game. I’m talking 
  about the diff erence between pulp and noir. Th at’s when 
  failing forward can feel aesthetically wrong. If you want to 
  recreate that 70’s and 80’s roleplaying vibe with games like 
  original D&D, Call of Cthulhu, Cyberpunk, Traveller - even 
  new games like Fiasco and Dungeon Crawl Classics - there 
  should be plenty of dead ends and dead player characters 
  along the way
  Failure, in and of itself, doesn’t have to be the end. Faced with 
  a brick wall, the trail going cold, or a gun aimed at the back of 
  your character’s head, there aren’t many pleasant solutions. 
  Sure, failing forward is always an option, but with the right 
  RPG and group, ordinary failure works, too.
  As a player, I can remember doing something stupid or gett ing 
  unlucky. I faced failure. Th e real kind - and died (horribly, 
  most likely). Yeah, it stung. But it taught me a couple things. 
  1) Shit happens. 2) Prepare yourself for when shit happens.
  You do your best and move on. Old school.
  Focus on One thing 
  Focus on One thing 
  at a Time
  at a Time
  All of us... ok, most of us (a few of us?) want to Game Master 
  bett er. Becoming a bett er Game Master will most certainly 
  improve the game, and the game’s the thing. Th at’s why we play, 
  aft er all. For the gaming experience and everything that entails.
  Th e best way I know of improving is to take measured, gradual 
  gains, one step at a time. Even if you could go rushing into a 
  full-blown, hardcore Game Mastering overhaul, completely 
  changing your referee style, I’m not sure that would be a great 
  idea. Using multiple unfamiliar techniques all at once can 
  be painful. You’re never sure what new thing is working or 
  making things worse.
  Singularity! Focus on one thing at a time. Decide on a single 
  aspect of your Game Mastering that you’d like to improve. 
  Make that your priority for the next session. Otherwise, keep 
  your eyes and ears open but let everything else fl ow as it 
  normally does.
  Maybe you’d like to describe combat so that players can 
  really see it in their mind’s eye. Or perhaps you want to 
  incorporate a new gaming aid, like a random table. Interested 
  in improvising? Do your players eagerly anticipate roleplaying 
  with your NPCs?
  
   34 
  Attack Descriptions
  Attack Descriptions
  In an ideal world, every Game Master would eloquently 
  describe every thrust, parry, lunge, and spurt of blood fl ying 
  through the air.  We can’t physically see combat so we have 
  to imagine it in our heads.  Merely saying, “He hits you for 9 
  points of damage,” isn’t conjuring a vivid picture.  Where are 
  the gory details?
  I’ll be the fi rst to admit, narrating every hit or miss just 
  isn’t going to happen.  Aft er awhile, you’d become mentally 
  exhausted or simply repeat what you said the last dozen times.  
  So, instead of trying to make every roll bleed with life, focus 
  only on the most important att acks, the ones that count: max 
  damage, critical hits, called shots, sneak att acks, etc.  
  Aim for three descriptions per combat; a broken rib, crimson 
  spray, sliced bicep, translucent goo dribbling down the wound, 
  and an ever-widening pool of blood on the stone fl oor.  Th at’s 
  the stuff  your players will remember – and they’ll hold you to 
  it!  If you mention the villain losing a couple fi ngers in a prior 
  att ack, adventurers might very well plan their att ack based on 
  that information.  If it means the bad guys are easier to defeat 
  because of some detail hastily-mentioned several rounds ago, 
  then so be it.  Build upon what came before.
  Uncomfortable 
  Uncomfortable 
  Players
  Players
  George Castanza would make a terrifi c Game Master.  His special, 
  qualifying skill: “I always know when someone’s uncomfortable 
  at a party.”  Th at power of perception is something Game Masters 
  need to have.  I’m not saying do something about it every time a 
  player seems uncomfortable – sometimes discomfort is useful or 
  appropriate.  However, the Game Master should be aware.  His 
  awareness is key to orchestrating a successful session.  Out of 
  multiple successful sessions comes a great campaign – the chief 
  goal of every Game Master!
  So, how does one hone perception?  How can it be improved?  
  Pay att ention, obviously.  Beyond that, watch for unusual 
  patt erns of behavior.  If a player is talkative, then his silence 
  might be an indicator.  If a player is normally agreeable, 
  then unexpected confrontational behavior will tell you 
  something.  If a player hardly ever makes a fuss but is suddenly 
  argumentative, that’s another clue.  
  Once you are aware, you can then decide if it’s worth 
  addressing now, later, or not at all.  
  Unwanted Flirting
  Unwanted Flirting
  Th is isn’t about the occasional comment or smile.  Th is 
  piece of advice is for those on the receiving end of constant, 
  unwanted fl irting, advances, and innuendos.  Assuming that 
  ignoring it hasn’t made it go away, ask another player if you’re 
  misinterpreting things.  If this is indeed “a thing”, you’ll have 
  to do something about it before his or her fl irting gets out of 
  hand.  
  Speak to the fl irtatious player outside the game.  Tell them 
  that their att ention may be fl att ering but it’s making you feel 
  uncomfortable and distracting you, taking focus away from 
  the game.  If they persist, then kick them out of the group.  
  You deserve to not be harassed.  
  Have a Backup 
  Have a Backup 
  Adventure Ready to go 
  Adventure Ready to go 
  For whatever reason, your planned adventure may get 
  sidetracked, sidelined, shelved, ignored, or ruined by 
  unexpected forces.  Th at’s ok… or it would be if you had a 
  backup adventure ready to go.  Create an unbelievably simple 
  scenario outline at the campaign’s start.  Here’s a sample in 
  easy parts:  1) Th e party meets a bearded stranger who tells 
  them not to go into the catacombs beneath his village.  2) 
  Th ose catacombs are guarded by tentacled slugs with a dozen 
  eyes.  3) At its center, the party will discover a seven corpses 
  – each of them interred with identical onyx amulets.
  Th at’s really all you need.  Th e rest can come about randomly, 
  organically, or improvised by you in the moment.  Chances 
  are, you’ll never need this backup adventure.  But as the 
  saying goes, it’s bett er to have it and not need it than need it 
  and not have it.
  At the back of this book are some basic dungeon maps that 
  you can use wholly or in part, either pre-meditated or on the 
  fl y.  Feel free to keep them in reserve.  You never know when 
  you’ll suddenly need an entire dungeon ready to go.  If you 
  have this book at hand, let it be the ace up your sorcerer’s 
  sleeve.  
  
   35 
  Initiation
  Initiation
  I’m a fi rm believer in rites of initiation.  I use the plural 
  because it doesn’t just begin with the fi rst adventure of the 
  campaign and end when the PCs reach 2nd level.  Initiation 
  is an ongoing process.  So, what is it?  In layman’s terms, not 
  everyone’s going to make it.  
  Th at doesn’t mean some PCs have to die.  On the contrary, 
  the entire party may survive.  However, it’s important for 
  them to feel as if they’ve lived through some kind of ordeal, 
  a rite of passage.  Th ey should see themselves as survivors, 
  perhaps even conquerors.  Th at means at least one encounter 
  must be inherently dangerous.  Ideally, this encounter should 
  come in the second or third hour of the initial session.
  What we’ve been through in life makes us who we are; same 
  thing with a PC’s experiences.  However, not all experiences 
  are created equal.  Th ere should be a decision-point in the fi rst 
  session and every so oft en from then on that sets an adventurer 
  apart from the common folk.  Th is defi ning moment sets 
  him on his own personal path, giving him purpose.  From 
  that moment on, he is not just a farmer holding a sword or 
  carpenter waving his fi ngers about.  Nay, he is something 
  else… a hero destined for greater things!
  As I mentioned earlier, there’s seldom reward without risk.  
  Th e risk of dismemberment, poisoning, being charred to a 
  cinder, or eaten alive must be real.  Although, the individual 
  may not be aware of the danger until aft er his ordeal is over.  
  Why deadly encounters?  Because it stands to reason that 
  not everyone can be an adventurer, let alone a hero.  It’s the 
  same reason not everyone can be rich or super smart or really, 
  really ridiculously good looking.  If everyone could be a hero, 
  then there’s nothing special about the hero himself.  Life can 
  be hard enough when we take the easy road, the one well-
  traveled.  Taking the road less traveled is even more diffi  cult.  
  It has to be in order to keep things in balance.
  Th is is one of the main reasons I prefer players to start out 
  with three zero-level characters each, assuming I’m running 
  a grim, gritt y dark fantasy campaign with a quick and dirty 
  (or streamlined) character generation system.  Th at way, if 
  one or two PCs die, it’s no big deal, the game goes on.  
  Of course, if it really is no big deal, the concept of initiation is 
  lost.  Death must be a bummer or else it loses its meaning and 
  we may as well be playing tiddlywinks!  Fortunately, players 
  grow att ached to their characters all too easily.  Th e process 
  of rolling, choosing, and being randomly assigned various 
  circumstances assures us that the life of each nothing-level 
  explorer is meaningful.  All of these lives matt er; they have 
  value.  For the ones who survive, initiation only enhances 
  that impression.
  Death Dealing
  Death Dealing
  As the Game Master, you’re going to see a few PC deaths.  
  Th at’s to be expected.  Death shouldn’t happen all the time (I 
  average about one PC death every three sessions), but it also 
  shouldn’t be completely absent from your campaign.  
  It’s important to show empathy when it happens.  Let the 
  player know that it’s unfortunate, that it sucks, that the gods 
  have crapped upon his poor adventurer… then deliver the 
  bad news.  No sarcasm, no trash talk, no laughing – just a 
  moment of true compassion.  Death goes down easier that 
  way and you won’t look like the bad guy (as much).
  Also, it’s important not to say things like, “You die,” or “You’re 
  dead.”  Reference the player’s character rather than the player 
  himself.  Once a PC has croaked, it’s no longer fi rst-person 
  time.
  GM:  (Roll dice) Ouch!  Th at’s 36 points of red hot fi ery 
  damage.  
  Player:  But I only have 13 hit points left !
  GM:  (Sigh) sorry dude, it looks like Arryder was burned 
  to a crisp.  Did he shout anything memorable before the fi re 
  consumed him?  
  Player:  Only that he will be avenged.
  GM:  Of that I’m sure.  His companions can collect the ashes 
  aft er this batt le.
  
   36 
  Starting Oﬀ 
  Starting Oﬀ 
  Begin the fi rst session of the campaign with character 
  creation.  Ideally, generating player characters shouldn’t take 
  more than an hour.  If you know that character creation is 
  going to take longer than an hour, prepare for that by either 
  streamlining the process or doing some of the foundation 
  work for the players before they arrive.  
  If you see character creation drag, don’t just shrug your 
  shoulders and say, “Hopefully, it’s shorter next time.”  Do 
  something about it.  Tell the players that not every detail of 
  their character sheet needs to be fi lled out today.  Th e rest of 
  the information can either come through playing the actual 
  game or when there’s downtime aft er the session or before 
  the next one.
  Even though some players love the act of making their 
  character, others won’t.  In any case, you didn’t decide to 
  make characters all day or on a weekly basis for the next few 
  weeks, months, or years.  You came to play.  Get to playing!
  Conversely, character creation shouldn’t take much less than 
  an hour (for the entire group).  If it does, then important 
  details are missing.  I fi nd it takes at least 45 minutes in 
  Backup Characters
  Backup Characters
  You should decide what happens aft er a PC dies – before 
  he dies!  Have a protocol in place because eventually it will 
  happen.  Being caught off -guard by such a thing is Game 
  Mastering like an intern, not a boss.  Th e following are a 
  variety of ways to deal with the situation…
  • Have the player roll up a backup character ahead of time.  
  He doesn’t have to complete every last detail, but the new 
  PC should be about 90% ready to go.
  • Have a new PC ready for the player to adopt as his own.  
  Th is could be an NPC already with the party, a character 
  that you rolled up ahead of time, or another player’s extra 
  character sheet that’s already been fi lled out.
  • Have the player work on his new character right aft er 
  the game.  While you could allow him to roll and choose 
  during the session if the character creation process is 
  short enough, it might prove distracting.  Of course, it’s 
  bett er than lett ing that player sit there for another two 
  hours with nothing to do.
  • Tell the player to just give you the basics, like his new 
  character’s name, best ability score, worst ability score, 
  race, and class.  Go with that, the rest can be handled aft er 
  the session.  You’d be surprised how much roleplaying 
  can be done with just a character concept.
  Pre-Game 
  Pre-Game 
  Questionnaire
  Questionnaire
  Below are some questions I recommend asking via email 
  before the fi rst session.  If you don’t know a player’s familiarity 
  with RPGs, ask that as well.  If these are guys you’ve gamed 
  with for years, you might just learn something new.
  1. Generally speaking, what kinds of things do you enjoy in 
  an RPG?
  2. What, if any, are your “must haves”?
  3. What is something you defi nitely do not want?
  Th e answers to those questions will give you an edge.  Such 
  information will help you craft  a bett er roleplaying experience, 
  leading to a superior game.
  
   37 
  order to eff ectively bond with the character or characters 
  being created.  Without that time, the resonance won’t be as 
  strong.  Remember that a player’s character is not just a proxy 
  for that player to experience the game world; the character 
  himself must also be realized.  A set of ability scores, race, 
  class, and choice of weapon, armor, or spells doesn’t speak to 
  the character’s personality, motivation, philosophy, att itude, 
  likes, dislikes, physical appearance and sense of style/
  aesthetics.  As a player, what you had for breakfast that day – 
  as your character - should be just as important as how many 
  times you can take a fi ve foot step aft er cleaving an orc with 
  your kung-fu grip.
  Th e fi rst adventure should begin directly aft er character 
  creation.  Some Game Masters might want to devote time to 
  character creation and then end things right there.  Th at’s a 
  mistake, in my opinion.  Strike while the iron’s hot.  If people 
  can stay the full 3 – 5 hours, then play, damn it!  Reward the 
  players by giving them what they came for.  Adventure!
  Untrained Players
  Untrained Players
  It could be brand new players or those who haven’t done any 
  serious roleplaying in years… at some point, you’re bound to 
  game with players who need a litt le more to go on than, “You 
  could do anything, anything in the world, anything that you 
  can think of – assuming it’s reasonable.  What do you want 
  to do?”
  For those players that just stare at you or look down at their 
  character sheet with a blank expression, give them three 
  choices.  Whatever is the most likely or plausible, suggest 
  those three things as possible options.  Make it into a kind of 
  choose-your-own-adventure book.  Sure, three alternatives 
  isn’t a lot but it’s bett er than one, two, or so many options that 
  players can’t even make a choice.  
  In time, such players will get the hang of it.  Th ey won’t 
  need three answers proff ered to them like a multiple choice 
  test.  However, in the beginning, it might lessen the stress 
  of choosing between one of a dozen options or the fear of 
  choosing poorly.
  Meditation
  Meditation
  It might sound strange, but focusing your thoughts is easier 
  when blocking out extraneous sensory information.  Find 
  a quiet place to sit, close your eyes, and think deeply about 
  your campaign.  Is it awesome?  What about it makes it 
  awesome?  How can you expand the campaign’s scope?  How 
  can you narrow your vision until it creates a singular eff ect?  
  What doesn’t seem to be working?  How can your campaign 
  surprise the players?
  Twenty or thirty minutes a week could be the diff erence 
  between a good campaign and a great one.  Meditate on 
  the campaign as a whole, recounting specifi c details.  Ask 
  yourself questions that may lead to interesting answers you 
  wouldn’t have considered otherwise.  It’s diffi  cult to think 
  clearly with all the tension, stress, and distraction of daily 
  life.  Look inward for campaign improvement.
  Modeling
  Modeling
  Is there a Game Master, author, artist, or public speaker 
  that you admire?  If so, use him as a model.  If he uses 
  grand gestures, paints psychedelic monsters, speaks with 
  determination, or uses powerful words to describe a scene, 
  then that can be something you borrow.  Everyone has useful 
  qualities.  Emulate what you love about an individual, make 
  that aspect part of yourself while Game Mastering.  
  How would Abed from the TV show Community Game 
  Master this session?  What would Nicholas Cage in Con Air 
  handle the PCs decision to chicken out just when the going 
  gets tough?  How would Tango or Cash deliver that bit of 
  dialog?  What would happen if you were able to channel the 
  moves of Mick Jagger?  Everyone brings a litt le something 
  of their own to the table.  So, why not cherry pick from the 
  very best, make it your own, and give the Game Mastering 
  performance of your life?  Go for it; even if you feel self-
  conscious.  What have you got to lose?
  
   38 
  the caverns beneath the Tower of Norr-Goth, you’ve got 
  something for the players and their characters to go on; they 
  can fi nd a purchase.  Without something to grab hold of, a 
  description or possibly the whole encounter will fall through 
  the cracks as the adventurers keep searching for something 
  that will capture their att ention, and more importantly, their 
  imagination.
  At the end of the day, an enticing encounter should have the 
  following:  something captivating, something benefi cial, 
  and something hazardous.  If there’s no mystery, secret, or 
  compelling aspect to the location, person, object, etc., then 
  why bother?  If there’s nothing to be gained, then why bother?  
  If there’s no potential downside, then the Game Master is 
  usually being too lenient.  You don’t have to include a save vs. 
  death tag on the emerald-mist laden grott o, but at least give it 
  a 1 in 6 chance of releasing a spectral shambler each time the 
  PCs wade into it.
  Flashbacks and 
  Flashbacks and 
  Flash-forwards 
  Flash-forwards 
  Th is might seem like an advanced technique, but I don’t think 
  it is, necessarily.  Simply say, “Th is is a fl ashback.” or “Th is is a 
  fl ash-forward.” as a transition and then begin describing the 
  scene.  Maybe you mention the diff erence in time, “Five years 
  ago, Iago was in the red-light district, searching for a fellow 
  rogue.” 
  Th ere should be a reason for jumping ahead or back in 
  time; don’t just do it because it looks fl ashy and you want to 
  impress the players.  If there’s no point, the technique will 
  feel like a wasted eff ort.  So, what’s a good reason?  To show an 
  important point of some relationship such as the beginning 
  of a friendship, the moment when two kings became bitt er 
  rivals, or when Lackless the Black decided to pledge his life to 
  murdering his cousins or winning the heart of a local barmaid 
  (why not both?).  
  Th e next campaign you run, try this: off er the players 
  fl ashbacks that can help them out of a present-day jam.  For 
  instance, the party comes across a magic item that only 
  a dwarf wizard can use.  Th ere is a dwarf PC but he’s not a 
  wizard.  You and the player could quickly hash out the details 
  of something that transpired years ago.  Perhaps the dwarf 
  had an uncle who could cast spells.  So, the party’s dwarf was 
  left  alone in an empty cavern with his uncle’s spell book.  A 
  demon appeared, off ering to be the dwarf’s patron in the 
  future if he ever needed arcane assistance.  
  What Do You Do?
  What Do You Do?
  Whenever possible, end your description with an unspoken 
  call to action.  Th e unspoken part is important.  Don’t simply 
  conclude with, “What do you do?” or “What is Th orinson 
  doing?”  Believe it or not, Game Masters may be robbing their 
  players’ agency over their characters.  By giving the typical 
  response of “What are you going to do?” a player might 
  interpret that as “I don’t care what you, the player, thinks 
  about the situation.  Want clarifi cation of details?  Too bad.  
  I don’t want to hear your character’s internal dialog; I just 
  want to know about your character’s physical actions.”  
  Instead, I recommend staying silent.  If, aft er your dramatic 
  pause, there’s no response from the players, you’ve failed 
  to provide what’s necessary for an encounter’s description: 
  a juicy enticement.  However, I am in favor of periodically 
  asking, “What does [character’s name] have to say about 
  that?”  Th e diff erence is two-fold.  First, it usually doesn’t 
  come at the end of the Game Master’s description but aft er 
  one of the players does or says something signifi cant.  Second, 
  it’s general enough so a player might respond with what his 
  character might be thinking just as easily as provoking a 
  verbal response.  Open-endedness is key.
  Enticements
  Enticements
  Th ere are fl accid descriptions and engorged descriptions.  
  Yeah, avoid the limp dick variety.  Illustrating a room in 
  a dungeon, being introduced to a curly haired halfl ing, 
  or picking up a demon sword for the fi rst time should be 
  intriguing.  Th e description might be full of details, but is 
  it interesting?  Can the characters interact with what you’ve 
  given them?  Does it inspire action?  
  Th at’s the key to a juicy enticement.  If players want to mess 
  around with something, they’re temporarily fascinated by it.  
  Th at means you’ve provided enough interest to pique their 
  curiosity and make them either want to know more or do 
  something about what they already know (or believe they 
  know).  
  For instance, if the room has a pungent smell emanating from 
  the creeping dungeon lilies that seem to grow in abundance 
  on the north wall, that might be worth investigating.  If the 
  red-headed halfl ing winks at the party’s thief or slaps the ass 
  of the sorceress, that’s going to heat up the encounter.  If that 
  demonic-looking blade not only has runes upon its blade 
  but runes that remind the barbarian of something his father 
  fearfully described to him many years ago when he explored 
  
   39 
  att ending to some mundane task when they unwitt ingly trip 
  over a disturbing object, creature, person, location, or incident.  
  Yes, because they weren’t actively looking for strangeness, the 
  weird thing they fi nd stands out.  Such a cyclopean discovery 
  would probably aff ect the entire session.
  So, how do we accomplish this?  How do we get players to 
  expect the mundane just before serving them an eldritch 
  entrée?  Simply ask them questions related to their basic 
  survival.  You’re thirsty.  How are you going to refi ll your 
  canteens?  You’re hungry.  Where are you going to look for 
  food?  You come across the charred remains of a campfi re but 
  you see no one around.  Th e grunting of a warthog or wild 
  boar interrupts your conversation.  You believe it’s coming 
  from that nearby cave.
  Within the cave, or just outside, there should be one or 
  two subtle clues… glimpses behind reality’s dark curtain 
  that not everything is as it seems.  Yes, something’s afoot!  
  Crackling of energy in the air, the scent of dead fl owers, a 
  trail of phosphorescent liquid, sensation of cold, fragments 
  of a cracked skull, barely audible whispering or twinkle like 
  wind-chimes – something to introduce the strange before 
  dropping it into their laps.  
  Remember, we’re not looking for a cat jumping out of the 
  closet scare but rather we are constantly chasing the dragon 
  that is a slow, inexorable doom creeping over adventurers.  Th e 
  latt er is cosmic horror but it won’t be eff ective if PCs trip over 
  it all of a sudden.  Th e best kind of strangeness needs to build, 
  it needs to surprise us while seeming almost inevitable.  
  Of course, not everything strange is inherently terrifying.  If 
  your campaign leans towards epic fantasy, that mysterious 
  gizmo shouldn’t contain radiation that will gradually poison 
  the land and all who come in contact with it.  In such a 
  game, the unknown opens the door to dreams.  It’s only in 
  a campaign tinged with darkness and horror that everything 
  strange has the potential to melt your face off … or worse!
  Th e trick is to frame the situation (where, when, why, etc.) and 
  give that PC a choice, test, or obligation without taking too 
  much time away from the other players.  Ideally, a fl ashback 
  should take about fi ve minutes.  Anything over ten is too 
  long.
  Slow Burn
  Slow Burn
  A lot of good fi lms, TV shows, books, etc. start out rather 
  quiet.  A slow start allows the audience to see the characters, 
  how they interact with each other and their environment, 
  prominent NPCs, etc.  Th ey build slowly to the inciting 
  incident – that’s when the adventure really begins.  Up until 
  then, it’s just prelude.  
  While you want the campaign to gradually accelerate, you 
  can’t wait too long.  Aft er all, the players aren’t passively 
  sitt ing back with popcorn and soda, enjoying what’s on the 
  screen or the artful wordplay of the author.  Boring is boring.  
  Don’t be boring.  If not much has happened in the fi rst hour 
  of the session, you need to get on with it.  Kick things into 
  high gear ASAP!
  I wouldn’t suggest starting a session in the middle of things 
  (unless that’s where you ended it).  In media res might work 
  with other forms of entertainment but not so much with 
  tabletop roleplaying.  Starting with combat gives the illusion 
  of an action-packed game, but without proper context, the 
  violence is rather meaningless.  Start at the beginning.  Go 
  for the slow burn… but don’t overdo it.  Burn too slowly and 
  there will be no fi re.
  Expectation of 
  Expectation of 
  Strange
  Strange
  I was re-watching my beloved fi rst couple seasons of Land 
  of the Lost when I suddenly realized something.  When 
  Marshall, Will, and Holly accidentally stumbled upon 
  something outré, it was more alarming than when they 
  went looking for it.  Adventurers who expect to discover 
  something disturbing can only have one of three responses: 
  1) disappointment at not fi nding a strange new discovery, 2) 
  satisfi ed at having their expectations met, and 3) surprised at 
  having their expectations exceeded!  Don’t rely on number 
  3 dropping into your lap very oft en.  Th e vast majority, the 
  party will oscillate between numbers 1 and 2.
  Now, imagine what would happen if the PCs were busy 
  
   40 
  MacGreggor had ever tasted, the PCs realize this isn’t some 
  random stats in your campaign notes.  
  Th e halfl ing Salinger sips on his ale in the local tavern, lowers 
  his voice, and says, “My cousin always thought we’d die rich 
  as kings.  And we probably would’ve if that thieving goblin 
  hadn’t stolen our magic ring.”  Th at’s the stuff  keeping your 
  magic-user from turning him into spell components.  
  Of course, not every single NPC will get (or deserves) such 
  special treatment.  However, as a general rule, potential long-
  term or recurring NPCs should be people fi rst and exposition 
  or window dressing second.
  I’ve got one more thing to say about NPCs: don’t be afraid to 
  make some of them obnoxious.  By defi nition, NPCs are not 
  the main characters.  If you want to see the non-hero equivalent 
  in our world, just take a trip to Walmart or anywhere that has 
  an all you can eat buff et.  Yikes.  Th e unwashed masses are not 
  only everywhere but they’re gross, too.  Give your campaign’s 
  NPCs that kind of treatment.  Describe them as slobbering 
  all over the place, picking their nose, laughing like a spastic 
  hyena, cross-eyed, 300 lbs. with a hunchback, hair like well-
  oiled grease, reeking of cow manure, prideful of their one 
  good tooth, etc.  
  Similarly, you have free reign to give them awful personalities 
  to match.  Th at’s one of the things I love about horror movies.  
  Most of those people are going to die before the fi lm is over, 
  so why not portray them like ordinary, horrible (or at least 
  mildly annoying) people.  Make a few of your NPCs hostile, 
  foul-mouthed, cowards.  It’ll make the adventurers look even 
  more heroic by comparison.  
  Backseat Game 
  Backseat Game 
  Mastering
  Mastering
  Back in the day, RPG rulebooks were short, sweet, and the 
  exclusive domain of the one running the game.  Game Masters 
  had to interpret what there was and decide the rest based 
  on whatever ruling seemed appropriate at the time, given 
  the circumstances.  Th ese days, rulebooks are quite large, 
  covering a lot of ground.  And half your players might own 
  them.  Game Masters are assumed to follow what’s writt en 
  in those rulebooks, even though almost every RPG states 
  that the rules are really just guidelines.  Th is throwaway line 
  in the introduction or preface of the book is essential… and 
  yet, like the warning label on a pack of cigarett es, it has litt le 
  impact on most people.  
  Special Abilities
  Special Abilities
  Let the player characters use their special abilities, class 
  features, racial advantages, etc.  Th at’s primarily why the 
  player chose that concept or archetype in the fi rst place.  
  Make allowances so the player can do what he came here to 
  do… what his character was born to do!   Yes, even if it’s not 
  technically appropriate regarding the rules.  If you can think of 
  extenuating circumstances, make it happen.  You’re the Game 
  Master!  You are the rules and the game will become bett er as 
  long as the players aren’t feeling abused, their characters aren’t 
  unduly penalized, and everyone still feels challenged.
  For instance, maybe the party’s thief isn’t exactly in the right 
  position or benefi ting from just the right amount of lighting 
  to backstab an opponent.  Give him the chance to hide in 
  shadows or assassinate an opponent regardless.  Perhaps the 
  wizard lost all his spells early on and there’s no time to rest… 
  you can either allow him to channel those mysterious crystals 
  he’s been carrying with him for days or let him sit silently in 
  the back of the party for the last hour of the session.  
  Bending the rules shouldn’t be a constant occurrence.  It 
  probably shouldn’t happen more than once or twice per 
  session.  Also, keep the extenuating circumstances and your 
  exact wording in mind.  If rule bending happens because 
  the cleric was praying while pouring the fresh blood of his 
  enemies upon his holy symbol, then that PC will expect the 
  same results to occur next time, too.  Either come up with a 
  reason why it worked the fi rst time or a reason why it didn’t 
  work the next.  Is it god’s will?  Was it a one-time divine favor?  
  Is it simply a mystery that no mortal can unravel?  
  Non-Player 
  Non-Player 
  Characters
  Characters
  Visual details are an obvious go-to regarding NPCs.  Flesh 
  them out by describing their face, hands, eyes, clothing, 
  armor, weapon, boots, scars, teeth, hair, height, size, etc.
  But if you want your NPCs to come alive and not just be seen 
  as coalescing experience points to be swift ly shived when the 
  opportunity presents itself (as soon as his back is turned, most 
  likely), have them reveal something personal about themselves 
  - a bit of monologue that elicits an emotional response!
  When the dwarf, Culough, with the long red beard and eye-
  patch tells you that he’s an excellent cook; in fact, just last 
  week having whipped up the best souffl  é that Stone Stealer 
  
   41 
  
   42 
  What’s wrong with naming a PC Bob?  Well, it’s a distraction.  
  Some distractions are ok, even good.  However, a distraction 
  that takes you out of the game, out of the sett ing, is bad.  An 
  ongoing distraction that serves no purpose other than that 
  particular player’s laziness (in not coming up with a suitable 
  name) or humor (aft er the fi rst few seconds, how funny is it 
  really going to be?) is even worse.  Derivations on the name 
  may or may not be acceptable, such as Bobwin or Large 
  Robert.   At this point, I’d still tell that player to keep thinking 
  or roll on a table full of random names.
  Once something is 
  Once something is 
  communicated, it 
  communicated, it 
  exists
  exists
  I’ve oft en heard the advice that you don’t need to create the 
  entire campaign all at once.  Rather, deal with what’s in the 
  immediate vicinity and those things likely to have an impact 
  on the PCs.  It’s good advice, and I’m not going to argue with 
  it.  Why detail all the fi sh in the ocean an entire continent 
  away when the adventurers may never even get there, let 
  alone want to study aquatic life.
  Similarly, leaving things unmentioned allows you to do 
  whatever you want with it.  But once you talk about the three 
  moons or seven suns, there they are.  Avoid changing the 
  facts if at all possible.  Th e campaign loses a bit of credibility 
  when you say that all the world’s elves live below the surface 
  and then a few sessions later you tell everyone about the elf 
  ghett o in the city’s center.  Allow me to segue into one of the 
  Game Master’s chief duties.
  You must walk the razor’s edge between all the various 
  realities the players have been able to piece together from 
  your descriptions.  Players remember the things you say and 
  will create a picture in their mind, but keep in mind that his 
  picture is still a work-in-progress.  Without throwing black 
  paint all over their mental canvas, there are opportunities to 
  introduce new facts, creating a fresh layer of reality. 
  For instance, let us say you’ve already introduced the three 
  moons and seven suns, the subterranean elves and the surface 
  city containing a small elf population.  Now, the players are 
  asking why the land resembles medieval Europe instead of 
  the harsh desert conditions they expected, and how about 
  those elves living above ground… what gives?  
  Hopefully, you’ve given this some thought between sessions.  
  Of course, there will be details you miss along the way.  If 
  You might not know every rule in the book, monster’s 
  vulnerabilities, or cost of a healing potion.  Th at’s fi ne.  You 
  don’t have to.  But what are you supposed to do when one 
  or more players tell you that you’re wrong about how fast 
  a zombifi ed sea-scorpion can swim?  Simply tell them the 
  following:  “Not every single aspect of this particular game 
  is being run “by the book”.  In order to preserve the mystery 
  and magic of the unknown, a few details have been slightly 
  altered, intentionally.”  
  Feel free to paraphrase.  Basically, you want to convey your 
  right as Game Master to mix things up without it seeming 
  that everything is malleable and unformed until defi ned by 
  your almighty will.  Yes, it’s a balancing act.  You want certain 
  things to be concrete while deliberately obscuring a few 
  details here and there in order to keep things interesting.
  Th ose continuing to pester you that “you’re doing it wrong” 
  should get the above statement repeated.  If they want to 
  debate the wisdom of your decision, they must save it until 
  aft er the game.  Whether they know it (let alone believe it) or 
  not, you’re actually doing them a favor.  Th e game is bett er, for 
  the most part, when players are kept in the dark.  When the 
  players know every single rule in your game, it’s like walking 
  through a haunted house with the lights on.  Not scary, not 
  surprising, and not very much fun.  
  Of course, I’d be remiss if I didn’t point out the fl ip side.  
  Occasionally, a player will make you aware of a rule that 
  improves the game.  Maybe it proves your original point, 
  clarifi es something you’re struggling to adjudicate, silence 
  a persistent rules lawyer who has it wrong (yes, even they 
  can be mistaken), or resolves a confl ict easily and effi  ciently.  
  When players are off ering rule assistance rather than rule 
  lawyering, thank them.
  Don’t Name him 
  Don’t Name him 
  Bob
  Bob
  About a third of the campaigns I run include a player who 
  wants to name his character Bob or something equally 
  inappropriate to the genre.  For years, I tolerated it because I 
  didn’t want to interfere too much with players’ artistic license.  
  Basically, I was being a non-confrontational pussy.  Learn 
  from my mistakes – don’t allow it.  You’re not crushing that 
  player’s dreams by laughing briefl y and saying, “Sorry, it’s got 
  to be a name in keeping with the medieval type fantasy world 
  he’ll be living in.”  And if it turns out you are crushing that 
  player’s dreams, well… that’s just really fucking sad.
  
   43 
  I’m not saying fi nd a niche and never explore anything 
  else.  Branching out is good for you.  However, your Game 
  Mastering abilities will shine brightest when you’re delving 
  into territory that you love.  Sometimes, that will chafe with 
  your players.  Aft er a campaign or two, a few of your players 
  might need a break or might want to fi nd another group.  
  Th at’s ok.  Not everyone wants to watch action movies on a 
  weekly basis.  Some people hate scifi .  If you have to satisfy 
  others, then do it knowing that you’re making others happy 
  over yourself.  Constant people pleasing is another cause of 
  Game Master burnout.  
  Finding a balance might be the best thing.  You just won’t 
  know until you know yourself.  Self-refl ection is key.  Once 
  you’re in contact with your inner-self, the decisions get a litt le 
  easier.
  Obvious vs. Creative 
  Obvious vs. Creative 
  Choices
  Choices
  Th e following section is full of neat things for Game Masters 
  to employ during a campaign.  How you approach them will 
  be a determining factor in the campaign’s success.  At least 
  once per session, your choice should be creative rather than 
  obvious.  
  For instance, say you’ve chosen to incorporate pirates in the 
  upcoming session.  Th ere’s the obvious: the party crosses 
  paths with a gang of shipwrecked pirates looking for booty, 
  arrrggghh!  And then there are more creative alternatives:  on 
  the horizon, the party notices a ship at sea with black sails. 
  Aft er a few moments, they hear the sound of cannons.  Pirates 
  are att acking the coastal city of Zannzibar!  Or what if the 
  party stumbles upon a torn fl ag, black with the familiar skull 
  and crossbones emblazoned on both sides?  Th at could lead 
  to the party stumbling over a dead pirate who drew a crude 
  message on a cave wall with his own blood.
  All I’m saying is that just because you’ve decided to feature 
  dinosaurs in your campaign, that doesn’t mean a T-Rex should 
  chase the adventurers into the lost city as soon as they arrive.  
  Maybe a Triceratops is batt ling several Velociraptors on a 
  nearby plateau or the party learns that the primitive natives 
  of the island worship a Pterodactyl.  Don’t be so damned 
  literal.  You’re free to interpret and re-interpret suggestions 
  as you see fi t.  Occasionally, avoid the obvious.  Put in that 
  litt le extra bit of creativity; surprise yourself. 
  you never considered the brutal heat of the suns and what 
  that might do to the world, you can either come up with 
  something off  the top of your head or wait until the session 
  ends to invent a logical explanation.  Feel free to tell the 
  players that they cannot explain the discrepancy during the 
  interim.  Th e players won’t know they’ve caught you between 
  irreconcilables unless you tell them.
  With several days before the next session, you’ve got time to 
  think.  Maybe the suns are very far away?  Perhaps there’s a 
  magical barrier shield that keeps out the majority of harmful 
  rays?  Could all those moons somehow counteract the suns’ 
  power?  Are the surface elves in hiding from the subterranean 
  elves?  Are they a recent addition to the city’s center?  Are 
  they only here for a couple days each year to sell their wares 
  or buy weapons to defeat the giant spiders?  Is it possible that 
  those surface elves aren’t really elves at all but a mutant strain 
  of human or half-elves that favor their human side?
  Th e things that seem contradictory at the outset are the 
  very same things that will add character and nuance to 
  your campaign world.  It might take a litt le extra thought to 
  come up with a rationale for why “A” and “B” don’t jive, but it 
  certainly beats the alternatives: ret-con your campaign into 
  oblivion or give the PCs so litt le information that they have 
  almost nothing to go on.
  Know Thyself
  Know Thyself
  You realize that today is Mardi Gras.  It’s been awhile since 
  you’ve eaten at New Orleans Take Out, a fantastic litt le 
  Cajun/Creole hole in the wall not too far from where you 
  work.  Obviously, it’s going to be crowded, festive, etc.  Do 
  you go or plan on visiting it next week?  
  You’ve just come back from vacation.  Looking at your DVR, 
  you see there’s three episodes of fi ve diff erent shows recorded.  
  Do you watch all the Big Bang Th eories and then move on to 
  Th e Walking Dead or watch a litt le here and there?  Maybe 
  you save them all and put on a movie instead.
  Th ere’s a rock concert playing in the early evening, the same 
  exact time as an art gallery exhibit across town.  Which do 
  you choose?
  What I’m gett ing at is that everyone is diff erent.  We have 
  preferences based on who we are.  If you haven’t already, take 
  some time to sort through yourself… or selves, examining 
  what it is you like, don’t like and why.  What is it that drives 
  you?  What are you passionate about?  Whatever that is, 
  realize that’s where your best gaming lives.  
  
   44 
  You could say something similar or completely diff erent.  You 
  don’t have to pick any, assuming the players have off ered a 
  decent theory – you could use their suggestions to jog your 
  own creative juices or create a hybrid from multiple theories.  
  Really, any variation should be fi ne.  
  Th e point is that players are an untapped resource of good 
  ideas.  Occasionally, one or more players may volunteer 
  their opinion, however, if you solicit their opinion using an 
  innocuous phrase such as, “I bet you can guess what is coming 
  next.” they’ll never know you were grasping at straws, improv-
  tank bone dry.  Even if the players are tongue tied, it gives 
  you a few extra seconds to come up with something truly 
  awesome.  In fact, just asking yourself that question is a step 
  in the right direction… what would make this situation even 
  bett er?  Perhaps you’ll be able to answer it yourself before the 
  players have a chance to speak.
  Remember, players are sitt ing their soaking up everything 
  you’re telling them.  Th ough they’re using their imagination 
  to visualize the world, the part of their brain that does all the 
  creative heavy lift ing is sitt ing back in the sun, sipping a piña 
  colada.  It’s fresh and ready to work.  Plus, these are the guys 
  who are on the outside looking in.  Th ey’ll be three times 
  more likely to spot an inconsistency, loop-hole, loose end, or 
  something you forgot about along the way.  
  Of course, if you were to admit that you’re totally out of ideas 
  and needed help, that would also get results (probably)… but 
  at what cost? Instead of Game Mastering like a fucking boss, 
  it’s more like you’re passing the weed around a drum circle in 
  some kind of hippie commune.  Ask covertly and take credit 
  for their work like any normal boss would do.
  Peewee’s Playhouse 
  Peewee’s Playhouse 
  Paradigm
  Paradigm
  If there’s one thing I’ve learned from watching Peewee’s 
  Playhouse, it’s that there’s always something going on.  Th at’s 
  because the TV show has dozens of characters, animated 
  objects, and special segments at the ready, about to go off  
  or walk into view at a moment’s notice.  How can we not be 
  entertained or at least occupied by all that stuff  lurking in the 
  wings, just waiting to be used.  
  Just because you have a limited location or premise for your 
  campaign, that doesn’t mean it can’t be one crazy thing aft er 
  another – sometimes overlapping at breakneck speed.  If I 
  was designing a campaign based on Pewee’s Playhouse, I’d 
  start with a d100 table of encounters.  Take time before the 
  Improvisation via 
  Improvisation via 
  Covert Solicitation
  Covert Solicitation
  GM: You know what would make this situation perfect?
  Player 1: If the T-Rex from earlier in the session crashed 
  through the protective dome?
  Player 2: Or the wizard’s spell actually made the giant 
  robot bigger instead of smaller because of its magic-resistant 
  exoskeleton?
  Player 3: Wait, I know.  Th is isn’t even our planet – we’re still 
  on Ultron 5!  We push the butt on, blow the whole enchilada, 
  and wake up in the citadel of black tentacles!
  GM: Actually, Harold got prett y close. Have you been 
  glancing at my notes, dude? Haha. A semi-corporeal enchilada 
  abomination seeps through the dome, att acking you with its 
  guacamole tentacles!
  _________
  
   45 
  that will inspire terror in no one.  He’s merely something that 
  must be stopped in order to win the day, rescue the girl, or 
  save the world.  Except for a couple noteworthy actions, this 
  kind of scenario will be forgott en as soon as it’s over.  
  What you want is something that will stay with the player 
  for years to come.  In order to do that, the antagonists must 
  be not only reprehensible but human… all too human.  Th e 
  only way they can be suffi  ciently humanized is through 
  you.  You must become them for a time, thinking as they 
  think, acting as they act, and lusting for whatever is in their 
  twisted hearts.  Without putt ing yourself in their shoes, their 
  motivations, behavior, and plans (including fallback plans) 
  will ring hollow.  If the horror is drip with reality, you must 
  make it real.  In the end, perhaps you’ll be able to fi nd their 
  humanity – somehow justifying the torture, serial killing, or 
  turning their back on mankind.  But more than likely, these 
  unfortunate souls have painted themselves into a corner and 
  will grasp the most insane and desperate of straws in order to 
  not pay the bill once the check comes.
  Th e following shouldn’t need to be said, but I’ll say it anyway. 
  Once your investigative horror writing is over, you leave that 
  dark, dark place behind.  It may take a few minutes to come 
  back down to earth.  Meditate if you have to or watch some 
  cartoons.  You don’t want to carry those awful people inside 
  of you.  Let it go.  When it’s time to roleplay, bring it back 
  at the appropriate time.  If you need a picture, word, phrase, 
  or something to jar yourself into unrepentant evil, come up 
  with it before the session – ideally when you’re inhabiting that 
  black space.  Once the game’s over, it’s again time to release 
  that corruption and move on with your life.
  Whimper or Bang?
  Whimper or Bang?
  Change is the only constant.  All things end, eventually.  As 
  much of an awesome good time you guys are having with 
  your RPG of choice, it won’t last forever.  Th e silver lining is 
  that you have a hand in how the campaign ends.  
  Given a choice, I’d rather go out with a bang than a whimper.  
  Sometimes I can tell when a game is winding down.  Perhaps 
  enthusiasm is waning, a couple players have obligations 
  coming up where they won’t be able to game regularly, or 
  I simply feel ready to put this particular campaign to rest.  
  Whatever the reason, see it coming and plan for a conclusion 
  in advance. 
  I wouldn’t suggest cutt ing it short unnecessarily.  Going out 
  on top when your campaign is at its peak allows you to end 
  campaign starts to briefl y outline a hundred possible things 
  that could come up during the game: NPCs, monsters, things 
  the inhabitance do from time to time, meteorological events, 
  and oddball occurrences that can’t be predicted – they just 
  happen when they happen.    Every time there’s a break in the 
  action, roll on the table to see what happens.  
  Chances are, an encounter is going to pull the adventurers 
  in a certain direction and that’s where the session will go.  
  Obviously, this is an improvisation and gonzo heavy approach 
  to managing a campaign.  If you’re running the right kind of 
  game, it’s bound to be action packed and full of craziness!
  Investigative Horror 
  Investigative Horror 
  Scenarios
  Scenarios
  On the set of Silence of the Lambs, I’m sure Anthony Hopkins 
  didn’t tell himself, “Ok, this guy is bad.  Really bad.  Alright, 
  I’m ready to do the scene.”
  An investigative horror scenario should have equal parts 
  exploration, social interaction, and combat – just like your 
  typical sword and sorcery campaign.  And yet, it’s not quite 
  the same thing.  Obviously, you must contend with the “real 
  world” instead of some pseudo-medieval kingdom, but there’s 
  something else… a secret I’ll share with you.
  When I sit down to write a scenario in the aforementioned 
  vein, I know that I must prepare myself mentally and 
  emotionally.  Such authoring requires that I get in touch with 
  my dark side.  Not the usual dark side that I’m familiar with. 
  No, I’m talking about the stuff  you never show anyone – not 
  even your everyday self.  One’s conscious mind is thankfully 
  shielded from such things.  Let me explain.
  I imagine what I would do in an individual’s circumstances 
  assuming I had no moral or ethical compass whatsoever, not 
  even a shred of conscience.  I must set myself adrift  in an 
  ocean of pure egoism and unchecked desire.  It’s a scary place, 
  but that’s where I have to go in order to temporarily inhabit 
  one or more principle NPCs infl uencing events.  When one 
  is centered in darkness, one can envision committ ing all 
  manner of atrocious acts.  Lett ing go of society’s restraints – 
  to say nothing of nature’s – one can imagine what one would 
  do next and aft er that and aft er that.  
  To merely conjure up some anonymous villain who wants to 
  bring the Great Old Ones back, take revenge upon an ex-lover, 
  or amass power is taking the easy way out.  Anyone could 
  write that.  What you’ll have is a villainous cardboard cutout 
  
   46 
  terrible, or shocking is about to happen, the screen turns 
  black and we’re left  to wallow in the dark of the unknown.  
  Th at can be a lot of fun and even more satisfying than riding 
  off  into the sunset.  
  Assorted Game 
  Assorted Game 
  Mastering Wisdom
  Mastering Wisdom
  Lead from behind; lead by expertly following.  Be the invisible 
  hireling who wants to know what’s going on, who’s ready to 
  break camp but won’t do anything until the adventurers tell 
  him to start moving.  Th at invisible hireling notes the obvious, 
  “Indeed, the cave might be dangerous” and “Perhaps you 
  will be successful if circumstances are favorable”.  It takes 
  sensitivity, intuition, and a light touch; not easily done.  
  As the Game Master, you will infl uence the fl ow of events 
  without interfering and direct the action while maintaining 
  objectivity.  Use in-game means rather than stating it outright.  
  Here are a few examples: tell the party they’re really feeling 
  that last batt le and are still a bit stiff  and sore from yesterday’s 
  encounter.  Serena (the half-elf NPC) mentions her love of 
  elvish wine as soon as the party enters a tavern.  Both moons 
  are full and bright, providing enough illumination to see 
  who’s coming down the dirt path.
  Say what they perceive instead of saying that they perceive 
  it.  Telling the players that their characters can smell an 
  acrid odor in the air or that they can hear water dripping 
  is redundant.  Simply describe what their senses tell them 
  without reminding them that their characters can sense it.  
  “You can see a dark shape scutt ling 20’ up ahead” versus, 
  “A dark shape scutt les 20’ up ahead.”  Cutt ing out the “you 
  hear”, “you see”, and “you feel” makes the experience more 
  immediate and real.
  As I’ve mentioned before, if it’s a choice between manual 
  control and automatic pilot, choose the former as oft en as 
  you can.  It could make the diff erence between a ho-hum 
  game and a stellar one.  Going through the motions without 
  examining what’s going on moment to moment is easy.  It’s 
  no wonder Game Masters do it all the time!  We fall into a 
  comfortable rhythm and next thing we know, the session’s 
  over.  
  Rather than be asleep at the wheel, decide to run the game 
  the best way it can be run.  Manual control.  Breathe life 
  into your game by deciding that it’s a good time to roll on 
  the strange spell eff ect table or the NPC doesn’t get a saving 
  throw – instead he goes up like a ball of fl ame, but is able to 
  on a high note, but robs you and the players of the chance to 
  keep playing when everything is working really well.  A wise 
  Game Master will end things before the game is in trouble.  
  Warning signs might include players asking if they can take a 
  turn at Game Mastering when you’re done or whenever you 
  need a break.  Also, if the group of players you started with 
  does not resemble the group of players currently at your table.  
  Although, that could also mean it’s taken you a litt le while to 
  fi nd just the right player dynamic.  Perhaps this is eff ectively 
  a new campaign without your knowing it?
  So, how do we go out with a bang?  Hopefully, your campaign 
  has been leading up to something.  If it hasn’t, that’s a problem 
  and needs to be corrected ASAP.  On the other hand, look 
  carefully - perhaps the campaign was going in a certain 
  direction the whole time and you just missed it.  Regardless, 
  it’s time for the climax.  You need a big event - thee big event - 
  to happen.  It could be the planet’s ecosystem collapsing, the 
  resurrection of a powerful arch-mage, destruction of a town, 
  or release of a dragon or Old One.  Now, the players have to 
  deal with it... and soon!  
  Th e time for drawing things out and leaving breadcrumbs 
  along the way is over.  Tidbits of information will no longer 
  do.  Time to start bringing out Mr. Exposition.  Start 
  explaining, decrypting, and revealing!  Let the PCs in on 
  most of the secrets you had running in the background.  Pull 
  back some of that darkness so they can see what was hiding 
  in the shadows.  Don’t give away everything, but enough so it 
  looks like the adventurers have fi nally arrived, that they have 
  some measure of control and infl uence in the story.
  Once the epic struggle has concluded, give some thought 
  to an entertaining and interesting aft ermath.  Th e stuff  that 
  happens aft er the fi nal batt le.  Th e last hour or two of the 
  campaign should be about closure.  Tie up those loose ends.  
  Call back to those NPCs, forgott en magic items, and history 
  lessons from a dozen sessions ago.  Make it feel like your 
  campaign has an ending.  If it must end (and at some point it 
  must), do it properly.  Let everyone catch their breath, shake 
  hands with those they’ve helped, and reminisce about the 
  ones they’ve lost.  Give the players closure and a feeling of 
  resolution.  
  Also, don’t be afraid to leave just a hint of doubt.  Remember 
  those movies where the villain jumps out of the darkness aft er 
  the credits have rolled?  It’s OK to set things up for a part II 
  (even if you don’t think there will ever be a continuation), to 
  end on a minor cliffh  anger or question mark.  Yes, the heroes 
  have won.  But then, when all seems quiet, an adventurer 
  reaches his hand out to touch the mirror because he has to 
  know that it’s over.  Just as it seems like something weird, 
  
   47 
  Prepare thyself, GM, for a brutal reality-check.  Chances are, 
  a former GM’s player experience won’t live up to a sliver of 
  what he was hoping for.  Th ese days, I’ve become a master at 
  managing my expectations.  Years ago, I fell into that trap.  
  I thought my years of faithful Game Mastering entitled me 
  to a fantastic experience in front of the screen.  I was due, 
  right?  Haha!  Not so.  A combination of bad rolls, bad luck, 
  player inexperience (yes, years of GMing can corrode forms 
  of common sense), and trying too hard... they all put me in 
  my place.
  I recently played in a friend’s Call of Cthulhu one-shot.  As 
  GMs tend to agree, it was a refreshing change of pace.  Playing 
  is its own kind of fun, diff erent from Game Mastering but 
  still a good time. 
  Older and wiser, I now let the game evolve organically, as 
  well as, my place within it.  Mostly, I was comic relief.  An 
  impossibly handsome and intelligent drift er without much 
  education and the worst dice rolling possible.  In the end, I 
  played my character as if I was him.  Didn’t try to be the best, 
  outshine the other PCs, save the day, accumulate fantastic 
  loot, or do a bunch of radical super-maneuvers to impress 
  anyone. 
  My expectations in check and sense of entitlement gone, I 
  had a lot of fun.  And bett er yet, I was able to bett er facilitate 
  the table’s fun rather than hot-dogging it, failing miserably, 
  and becoming indignant.  Focusing upon my character 
  allowed the screen monkey (oh, how quickly we forget) to 
  do his thing and the other players to do theirs.  Sure, I was 
  wounded, driven insane, and seemed kind of NPCish next 
  to my companions... but that’s the life of an investigator 
  sometimes.  His experience isn’t always glamorous, either. 
  But I was playing and made myself realize how fortunate I 
  was to be roleplaying at all.  I welcomed the idea of not having 
  the session’s success rest solely upon my shoulders. 
  So, if you’re normally a GM and about to play, keep that in 
  mind.  You may not slay the dragon or roundhouse kick Dread 
  Cthulhu in the eye, but fun can still be had.  And if you’re a 
  career player, then do something nice for your GM this week 
  - send him a “Great game, man!” email aft er the session or 
  buy him a 12 pack of his favorite soda or even volunteer to 
  GM for a night.
  hurl himself into the wizard’s fl esh golem before dying… and 
  now there’s a berserk fl esh golem on fi re that the party has 
  to deal with!  When we do things the way we’ve always done 
  them, without conscious thought, something inside of us 
  sleeps.  Awaken the sleeper!
  When the Music’s 
  When the Music’s 
  over
  over
  Occasionally, Game Mastering feels like a thankless task.  
  GMs give and give and give.  Sometimes they receive an 
  accolade here or there, other times the scornful, disapproving 
  eyes of ungrateful bastard players!  Hopefully, that’s a rarity 
  at your table, but yeah, GMing isn’t always glamorous. 
  Th at means a long-term Game Master must fi nd fulfi llment 
  in diff erent ways.  Chiefl y, his achievement is the power of 
  creation, and sometimes that alone must sustain him in the 
  dark times of whining, looking up stupid irrelevant stuff  
  on one’s internet-capable cell phone, and weasel-esque 
  avoidance of any possible damage or ill eff ects.  Just as God 
  (assuming He exists) must be thoroughly disenchanted with 
  the sentient beings running roughshod over his world, there 
  has to be a certain amount of satisfaction in knowing you 
  made something cool, something alive... and that it wouldn’t 
  exist without you.
  But this section really isn’t about Game Mastering so much 
  as returning to playerdom.  Yes, a mere mortal again - or 
  vampire, half-orc, mutant, etc.  It can be quite a shock.  A 
  comedown.  Instead of manifesting a world and controlling 
  nearly everything in it, you’re now litt le more than a scavenger 
  trying to survive another night.
  Yes, Game Mastering is one hell of a rush.  It’s a power trip, 
  a drug.  Th e withdrawal can make you feel powerless.  And 
  that’s not where the best gaming comes from, no matt er 
  which side of the screen you’re on.  But you make do, you do 
  what you can; fi lling out that character sheet, hoping the RPG 
  gods will be with you, paying you back for services rendered.
  Th ere’s a mindset that comes with running a PC for a change.  
  Th e GM-turned-player wants to make up for lost time.  You 
  see, he’s watched all his players blasting away at imperial 
  stormtroopers, beheading trolls, drinking blood, smashing 
  cars, manipulating shadow, committ ing treason against 
  the computer, and summoning nameless servants for dark 
  purposes.  Th ere’s all this awesome stuff  that a career Game 
  Master has voyeuristically lusted aft er for months or even 
  years.  Suddenly, it’s within his grasp!
  
   48 
  
   49 
  At some point, an encounter should contain a gross, possibly 
  slimy, probably organic creature, location, event, structure, 
  spell eff ect, etc.  Unless this is a motif you want to fully explore, 
  disgust should be illustrated sparingly.  Also, you don’t have to 
  describe every vein, pustule, or fl uid being excreted, a few details 
  should be enough.  Th e players’ imaginations will do the rest.
  Something Grisly 
  Something Grisly 
  Now, this should be saved for either investigative horror or 
  dark, sword & sorcery games.  Playing in an epic fantasy 
  or gonzo post-apocalyptic mutants in the future RPG, one 
  doesn’t want to be burdened with the spiritual corruption of 
  stumbling upon dead children, a partially dissected human 
  head, a corpse where taxidermy has been performed so the 
  victim looks like its DNA has been spliced with an octopus, 
  or a person forced to eat human remains.  Yuck!
  Again, include encounters with something truly sickening 
  only if your game is of an appropriate genre.  
  Spell Failure
  Spell Failure
  Most of the time, failed spells just fail quickly and quietly 
  without much notice.  Th at’s great.  Th ere’s too much going on 
  to focus on every litt le spell failure.  However, I recommend 
  you include an encounter or aspect of your campaign the 
  deals with magic gone wrong.
  At some point, there was a spell (perhaps, a great one) that 
  didn’t go off  like it was supposed to.  Possibly someone or 
  something interfered, the planets were in the right or wrong 
  alignment, or another magic-user was actively opposing it or 
  contributing but in the wrong way.  Th is has led to an anomaly 
  that cannot be easily explained.  
  Th e following are suggestions.  Some part of the cave system 
  the party’s exploring contains open space with stars, planets, 
  comets, nebulae, and so forth.  Dropping objects into a well 
  makes them reappear in an open fi eld a mile away.  Th e 
  swamp deadens magical activity so spells are roughly half 
  their usual eff ectiveness.  Th e snow on the mountain comes 
  alive and att acks those who trespass too close to Queen Ilsa’s 
  ice palace.  Th ose who touch the wall between worlds are 
  suddenly drenched in feelings of utt er hopelessness.  
  The Checklist
  The Checklist
  Th e following should be considered for inclusion in every 
  campaign.  Obviously, there’s a lot here.  It would be 
  impossible to include everything from this list if you’re only 
  running a short one, let alone a one-shot.  So, don’t even 
  try.  If you’re only going to be playing for less than a couple 
  months (assuming weekly sessions between 3 – 5 hours), 
  then include what you can and feel free to mix and match 
  elements together.  
  It should go without saying that a fantasy campaign 
  would benefi t from adventuring in cities, dungeons, and 
  subterranean tunnels and caverns.  Th ese three environments 
  should be the mainstay of your campaign.  Feel free to veer 
  off  from them when appropriate but always come back to 
  where the action is.  Personally, I’ve never found exhaustive 
  journeys that take more than a session to get through worth 
  the eff ort.  Traveling can provide excitement but being on the 
  road constantly kind of sucks… just like it does in real life.  
  Additionally, there are subjective elements you might include 
  but are too specifi c for me to make blanket recommendations 
  about.  I’m talking about the possible inclusion of a sequence 
  of numbers (mysterious), a demon sword (cool), and 
  describing odd pairings of color when encountering another 
  plane of existence or witnessing a new spell being cast (try 
  gett ing this image out of your head - turquoise in a ménage a 
  trois with chartreuse and tangerine)!  
  While I can recommend all those things, I wouldn’t 
  recommend you include those things in every fantasy 
  campaign – unless they truly resonate with you.  If that’s the 
  case, feel free to use and reuse them until they become almost 
  cliché… and then change them up a litt le so that they seem 
  diff erent.  Basically, I think you should focus on the stuff  
  you love, that you’re passionate about without forgett ing the 
  other hundred things that will juice up your campaign when 
  subtly incorporated here and there.
  Something Disgusting
  Something Disgusting
  Revulsion is a powerful emotion because it’s rooted in fear. 
  Remember what Lovecraft  said about fear and fear of the 
  unknown?  Even though hardly anyone at the table wants to 
  be repulsed by your description of a fl eshy, ribbed, sweating, 
  aqua and magenta control center in the middle of an alien 
  starship where coordinates are birthed out of dripping 
  nodules hanging limply from the ceiling... that doesn’t mean 
  it’s not appreciated on some level.  
  
   50 
  folklore and the paintings of Salvador Dali.  Maybe a trap 
  you’ve read about or lair that came to you in a dream… 
  You might have to dig deep in order to come up with 
  something original enough that players are taken aback, 
  remarking on the encounter’s strangeness.  Do this at least 
  once per campaign and your gaming will start to feel like 
  more than just a traditional fantasy backdrop – it will become 
  a captivating world.
  Planes, Trains, and 
  Planes, Trains, and 
  Automobiles
  Automobiles
  I’m talking about throwing in a fantastic method of 
  transportation.  It could be riding giant lizards, dragons, 
  or spiders.  Maybe levitating disc, monorail, teleportation, 
  hitching a ride on the back of a slow-moving giant, or being 
  carried on wooden planks by the undead.  Sometimes, 
  you’ll want the transport to match the rest of the sett ing.  
  Occasionally, you’ll want something anachronistic… 
  something that pops.  
  Gett ing from A to B doesn’t always have to be boring.  For 
  the most part, walking or riding a horse should be fi ne, but 
  every once in a while you should throw an alternative at 
  your players.  Something that will make them feel like their 
  actually living in a realm of sorcery or on an alien planet.
  Whimsical
  Whimsical
  At some point, introduce something whimsical into the 
  campaign.  It could be a ridiculous NPC who only speaks 
  in riddles, a talking magic item that’s always wanted to play 
  the lead in a Broadway musical, a fi ery sword that sprays foes 
  with water instead of fl ame, or an encounter with a black hole 
  where only indigo objects are pulled into its vortex.
  Whimsy is defi ned as playfully quaint or fanciful, especially 
  in an appealing or amusing way; capricious.  Your game 
  shouldn’t be serious all the time.  Introduce something 
  extraordinary or fi nd a way of tweaking something ordinary 
  so that it becomes unpredictable, frivolous, and comical.  
  Now, an alternative to whimsical would be surreal or absurd.  
  Surrealism (occasionally defi ned as “super real”) is dreamlike, 
  fantastic, disorienting, and maybe even hallucinatory.  
  Juxtapose something commonplace like a druid’s grove with 
  something bizarre such as dragon made out of diamonds.  If 
  Powerless
  Powerless
  At some point in the campaign, either the entire party or 
  various individuals should feel completely helpless, unable to 
  protect themselves.  Adventures should bounce from survival 
  to kicking ass and taking names and then back to survival.  If 
  you’ve ever watched Th e Walking Dead, you know what I’m 
  talking about.  When PCs are powerless, it creates a realism 
  and emotional depth that’s useful.  
  So, how should you convey that sense of helplessness?  You 
  could describe how easily the beast’s claws and teeth rend 
  fl esh – even when protected by armor.  
  Give them a sense of scale… there are so many zombies 
  shambling across the open fi eld that no one can see the green 
  of the grass, for miles and miles grey dead fl esh streaked with 
  dried blood is all there is.  
  Have an NPC tell the party that it took fi ve weeks for the last 
  shipment of prisoners to die of dehydration, owing to the 
  intermitt ent trickle of water dripping from a nearby stalactite.  
  But that trickle of water was only shared by three men, so the 
  PCs will probably expire in less than a month.
  In Media Res
  In Media Res
  Even though I advise not starting a campaign in the middle 
  of an action sequence, it’s an interesting choice and could be 
  used to good eff ect somewhere down the line.  Aft er a dozen 
  sessions, things will start to look the same: hook, struggle, 
  and resolution.  You’re players will welcome the rarity that 
  is opening with combat, being chased, torture, or delivering 
  the killing blow.
  Something the 
  Something the 
  Players Have Never 
  Players Have Never 
  Seen Before
  Seen Before
  Yes, I said players, not characters.  And, yes, this might be 
  diffi  cult.  Each campaign should contain at least one thing 
  that’s unique, that players have never encountered or 
  experienced in previous roleplaying games.  
  Sometimes, this can be achieved by merging two or three 
  familiar ideas together.  Why not borrow a device or item you’ve 
  seen in a movie?  Design a monster infl uenced by Cambodian 
  
   51 
  Lost City
  Lost City
  Th ere’s something about the idea of a lost city.  Th e concept 
  resonates with mystery and begs for exploration.  Even if an 
  encounter or series of encounters doesn’t take place within 
  the lost city, it could be a great backdrop, something exotic 
  and timeless in the background.  On the other hand, most 
  players will want to personally investigate (through their 
  characters, of course).  Have some details ready!
  Does it resemble anything on earth?  Architecturally, it could 
  look Arabic, Roman, with bizarre angles, or like a spaceport.  
  Is it made of gold?  Can a barely audible hum be heard from 
  the outskirts?  Maybe it’s in ruins or perfectly intact.  Model 
  it on something you’ve seen on TV, movies, described in a 
  book, or rendered somewhere on the internet.  Personally, 
  when I read the words Lost City, I can’t help thinking of Land 
  of the Lost.  I grew up watching that TV series and there’s 
  something about it that sticks with me.  Really, all we got to 
  see (as an audience) was the front of a stone building that had 
  seen bett er days and interior tunnels full of Sleestaks and 
  occasional crystals, god-pit, matrix table, and pylon.  And 
  yet, that lost city makes all others pale by comparison.  
  Your campaign will benefi t from containing the remnants of 
  an ancient civilization.  Start with why the city’s lost.  Who 
  built it?  Were they alien to this world?  Did a cataclysm kill 
  them off  or was the city swallowed up by a nearby dimension?  
  Maybe there was a nuclear war or mutually assured 
  destruction via thousands of amped-up magic missiles…
  Standing Stones
  Standing Stones
  Th ere’s something primitive, mysterious, and ancient about 
  standing stones.  Th ey feel both fantastic and mired in the real 
  world simultaneously.  Just as we don’t know exactly how or why 
  there are so many standing stones all over the world, they will 
  become just as mystifying to the players and their characters.  
  Do the standing stones in your campaign honor the dead, 
  correspond with celestial movements, radiate magic or 
  correspond with patt erns of magical energy like ley lines, is 
  something trapped/encased within them, are they encrusted 
  with gemstones, carved with an eye inside a triangle, is there 
  a circuit board panel full of red and blue butt ons att ached to 
  the side, do they mark the location of a metallic hatch buried 
  just under the dirt?
  Players will recognize the signifi cance of your campaign’s 
  standing stones, even if they’re not exactly sure why.  Th e 
  you’re going for the absurd, then perhaps that dragon is made 
  out of broken promises.  Don’t fall into the trap of making 
  things too ridiculous.  Perhaps things seem absurd to the 
  outsider but are quite normal to those who’ve grown up with 
  them.  Maybe when the fi ghter crits with his magic sword 
  an angel’s wings are torn away by a voracious demon; trials 
  are judged by interpreting the patt ern of spilled entrails or 
  how many times a monkey touches an ivory statue fashioned 
  in the likeness of Th eya, goddess of justice.  A segment of 
  some desert-dwelling society wears blue robes and makes 
  the familiar Vulcan hand gesture… why?  Did a magazine 
  devoted to Spock fall out of the sky one day and infl uence an 
  entire culture?
  Pyramid, Ziggurat, 
  Pyramid, Ziggurat, 
  or Trapezoidal 
  or Trapezoidal 
  Structure
  Structure
  Th ere’s something impressive, primal, and evocative about 
  “primitive” structures that are orders of magnitude more 
  complex and advanced than the boring rectangle buildings 
  we have today.  Maybe it’s a forgott en temple, place for human 
  sacrifi ce, tomb of buried kings and secrets, library fi lled with 
  sorcerous tomes, or prison for some kind of preternatural 
  beast of legend.  Somewhere in your campaign’s world, you 
  should include an impressive piece of architecture that 
  exudes excitement, adventure, and mystery.  
  Don’t feel that you need to just make it an ordinary Egyptian 
  pyramid or Mayan temple.  You can go wild with strange 
  details couched in epic fantasy, horror, science fi ction, etc.  If 
  you have a picture, even bett er.  Describe it with due reverence, 
  use your hands, let your voice betray some measure of awe, 
  make it grandiose.  Th e players’ intensity will match your 
  own.  Such a place could become a mainstay of the campaign 
  or perhaps only a few encounters before the earth swallows 
  it up… and even then, the sunken ruins might be explored at 
  some point.
  
   52 
  Extreme Prejudice
  Extreme Prejudice
  Th is goes beyond the normal everyday prejudice that might 
  creep into your campaign.  Sure, a commoner might make a 
  derisive comment about the party’s dark elf or half-demon.  
  Or walking around town without proper vestments on 
  Sunday morning could elicit some nasty looks from overly 
  religious types.  Th ose are fun litt le things to pepper into a 
  campaign here and there.  
  Above that, you should consider including some extreme 
  prejudice into your campaign.  People have certain ways of 
  doing things, particular mindsets that form their beliefs.  
  Disrupting the foundation of their society and culture is a 
  big deal.  So, if wizards enter a realm without an eye within 
  a triangle within a circle tatt ooed upon the palm of their 
  left  hand, they might fi nd themselves about to be lynched.  
  Usually, prejudice isn’t an individual thing.  It’s a group 
  att empting to disenfranchise another group.  Maybe it’s based 
  on fear more than hatred.  Perhaps the prejudice comes from 
  a good place (like trying to protect half-elves) but is skewed 
  because of centuries of tradition or a few radicals who want 
  nothing more than bloody revolution.   
  If an individual or group is being treated unfairly, this may 
  cause some adventurers to make things right.  Now, you’ve 
  engaged their emotions and gnome genocide isn’t something 
  that can easily be swept under the rug - especially if there’s at 
  least one gnome in the party.  Prejudice has been known to 
  fragment and ruin civilizations, so incorporate it into your 
  campaign at some point.
  Insult
  Insult
  Rather than injury, at some point in the campaign have a 
  PC insulted.  Perhaps a noble refuses to deal with someone 
  of obvious low birth, a fellow tavern patron compares his 
  mother to the whore he slept with last night, or the half-orc 
  everyone assumed was a street thug is actually a renowned 
  warrior in disguise… and he claims the party ranger has litt le 
  to no honor for whatever reason.  Maybe the ranger treated 
  him like the sewer rat he appeared to be?
  Ridicule can be a good motivator.  No one likes being 
  mocked or put down.  How one deals with an insult should 
  reveal something about an adventurer’s character, what he’s 
  like deep down inside, how he really feels about himself and 
  the external world.
  concept will resonate with them, allowing you to build upon 
  their subconscious expectations down the road.  Once you 
  put in the stones, make them memorable somehow!  
  Gambling
  Gambling
  Who doesn’t like a game of chance?  Even for risk-adverse 
  individuals, there’s something about risk, probability, luck, 
  and the excitement of making a small wager.  In the real 
  world, there’s good reason to stay away from gambling.  I’ve 
  spend many an hour inside casinos playing poker.  For all 
  its glitz and glamour, there’s a seedy underbelly that makes 
  such a degenerate pastime barely worth one’s time.  And yet, 
  I can’t go a month without wishing I was back on that green 
  felt playing poker, bluffi  ng, raising, and calling my opponent’s 
  down to the river with top pair, top kicker.
  However, in the campaign world, why not?  Th ere’s sure to 
  be peculiar and unscrupulous individuals hanging around 
  gambling dens – a great place to engage suspicious NPCs.  
  Even if it’s not a tourist att raction or shadowy sanctuary, 
  there could be individuals laying odds and speculating on 
  cards, dice, movements across a board, the number of scales 
  on the back of an ancient dragon, tentacled cock fi ghting, 
  predicting the weather, rock/paper/scissors, etc.
  As Paul Newman said in Th e Color of Money:  money won 
  is twice as sweet as money earned.  At least a couple players 
  will be willing to test their luck if you present them with the 
  opportunity.  And if it involves some form of in-character 
  competition or worthwhile spectacle like gladiatorial 
  fi ghting, they’ll be even more eager.  
  Stolen Property
  Stolen Property
  Th e PCs are on the receiving end of thievery.  Someone or 
  something steals their property.  Maybe it’s a magic item, 
  article of clothing, or small chest full of gold.  Th e thief could 
  be a roguish halfl ing, a mysterious elf who calls himself 
  Midnight, or a small group of scoundrels using an amulet of 
  silence to make off  with the party’s loot.  
  Th e bigger the theft  is for the characters emotionally, the 
  more your players will be Hell bent on tracking the thieves 
  down in order to get their stuff  back (and probably dole out 
  some deserved payback).  
  
   53 
  Gladiators
  Gladiators
  Th is could be an ignoble pit fi ght or sands surrounded 
  by stadium seating, an audience of thousands watching 
  every blade stroke and blood splash.  No matt er the arena, 
  you should include gladiatorial games somewhere in your 
  campaign.  
  Th ink about the people fi ghting but also about the larger 
  culture.  Is this in a big city, the outskirts of a quiet village, 
  at the center of a thriving empire?  Do the onlookers crave 
  spectacles of violence, is this a matt er of honor, part of the 
  justice system, the will of the Gods or their sinister High 
  Priest?  Th ere’s something thrilling about gladiators, so 
  include them when the opportunity presents itself.
  Altars, Statues, and 
  Altars, Statues, and 
  Pools
  Pools
  Old school dungeons were full of these in the 70’s and 80’s 
  or, at least, that’s the way it seemed.  Such fi xtures provided 
  temples and lairs with a bit of weirdness, intrigue, and fun.  
  PCs will almost always stop to take a look at an altar, statue, 
  or pool they come across.  Th ey’ll want to know why it’s there, 
  who built it, and what strange properties it possesses.  
  Occasionally, an altar, statue, and pool won’t be special.  
  Th ey’ll be decorative or will add a bit of history to the place 
  and that’s it.  Th e majority of the time, though, you’ll want 
  these things to be more than they seem.  A statue might come 
  alive or start speaking in a demonic tongue.  Th e altar might 
  be made out of black marble with green veins or have blood 
  stains.  Th e pool could be fi lled with a gold-colored liquid or 
  water that contains magical properties.  Mining the ideas of 
  old school modules should provide you with tons of ideas.  If 
  something unique comes to you in a fl ash, defi nitely write it 
  down and use it ASAP.
  Artifacts and Relics
  Artifacts and Relics
  Include a magic item so powerful that it creates an imbalance 
  in the campaign world.  Most likely, this object will be 
  incredibly old.  Th ere should be legends, folklore, old wives’ 
  tales, dreams, visions, and rumors about it.  Intrepid explorers 
  will seek it out if it’s lost and great men will raise armies in 
  order to possess the thing if they know its whereabouts.  
  Wizard’s Duel
  Wizard’s Duel
  Your campaign could do with powerful magician’s squaring 
  off  against each other.  Th e party magic-user doesn’t have 
  to be involved directly.  Perhaps he was mentored by one of 
  the dueling wizards.  Th ere’s also a remote chance that both 
  wizards are destroyed.  In that case, who gets all their stuff ? 
  Magic items just lying around next to smoking robes and 
  charred pointy hats!
  Maybe there’s a special place where sorcerers do batt le against 
  other sorcerers, such as an enormous sea-cave curiously 
  shaped like a trapezoid.  Maybe this duel will decide the fate 
  of all the wizards in the realm.  Th is might be a duel between 
  hopeful apprentices, vying for tutelage under Aerellus the 
  wicked.
  
   54 
  sandwich.  I’d be surprised if even one PC tried to go for 
  it.  Why would he?  Th e player gets no tangible benefi t from 
  eating it, and his character receives nary a bonus, advantage, 
  enhancement, or anything.  In game terms, it’s useless.  
  Even though we strive to make our roleplaying experience 
  something more than just a game with dice and pretend 
  swords and fi reballs, it’s diffi  cult to elevate proceedings and 
  maintain that loft y position.
  I’ve thought about creating in-game benefi ts to having sexual 
  relations with someone the PC fi nds att ractive but haven’t 
  gone that far yet.  I’ve read several posts on adventurers 
  benefi ting from drinking, which is kind of similar.  If your 
  RPG of choice has rules for carousing, you could elaborate 
  on those.  
  Even though you don’t want to go into detail on the love 
  making, the seduction itself leading up to it could be 
  worthwhile from a storytelling perspective.  At the very least, 
  it wouldn’t hurt to describe a handmaiden’s shapely legs or 
  barbarian’s bulging biceps.  Sometimes, the hint of arousal 
  is enough to whet players’ appetites.  Keep your audience in 
  mind while being true to yourself and the campaign.
  Archetypal NPCs
  Archetypal NPCs
  Sure, your NPCs can be unique litt le snowfl akes with their 
  own randomly rolled or hand-craft ed personalities, quirks, 
  and motivations.  Th ere’s nothing wrong with that.  However, 
  I encourage you to use broad archetypes, too.  
  Include the wise old mentor, scoundrel with a heart of gold, 
  naive farm boy from Iowa, scorned woman with vengeance 
  on her mind, chivalrous knight so burdened with honor 
  and doing the right thing that his hands are tied, etc.  Th ese 
  characters are familiar because we’ve seen them countless 
  times.  But they’re more than cliché, they’re timeless classics.  
  Don’t be afraid to use and re-use them with a twist here or 
  there.  
  Mystery
  Mystery
  Don’t full the full story.  Th is should be easy.  Leaving 
  important backstory details out might be something you do 
  unintentionally.  Whether intentional or not, you’ve saved 
  something for next time… whenever that may be.  Not only 
  does that allow you to come up with something bett er than 
  whatever you would have conjured up on the spot, you’re 
  Usually, the artifact or relic will be visually impressive as 
  well.  However, you could challenge player expectations by 
  describing it as very plain and ordinary.  Perhaps it changes its 
  appearance to go with its surroundings or it appears diff erent 
  to everyone who eyes it.  Maybe it’s invisible or so hideous to 
  behold that individuals looking directly at it turn to stone or 
  purple jelly?
  Whatever the magic item, make your players dimly aware 
  of it when the campaign begins or shortly thereaft er.  Build 
  curiosity slowly with various clues, references, and a fellow 
  who nearly lost his life merely for asking about the thing 
  around the wrong people.  Finally, introduce it with all the 
  reverence and awe you can muster.  Stop short of Indiana 
  Jones and the Raiders of the Lost Ark ending, but that’s a 
  good place to start.
  Th e trouble of showing your artifact or relic too soon and 
  without the proper introduction is that adventurers will simply 
  see it as yet another magic item to be collected.  However, 
  that’s not what such items are for.  Artifacts and relics can 
  reshape the entire world in the right hands.  Of course, you 
  could throw it into the mix as if it were nothing more than an 
  enchanted ring with the PCs none the wiser… until later in 
  the campaign when they realize its gargantuan power.  Aft er 
  all, the PCs don’t know how to unlock its potential, do they?
  Nudity, Sex, and 
  Nudity, Sex, and 
  Eroticism
  Eroticism
  Such a fundamental part of life and what it means to be human.  
  Aft er power and riches, it should really be the next motivating 
  factor.  Unfortunately, it can be awkward to talk about that 
  sort of thing with a table full of guys or even a mixed table 
  of men and women.  Sex is usually an activity for couples.  I 
  can’t remember describing an orgy in my Game Mastering 
  history, but it’s an intriguing possibility.  Barring that, 
  everyone at the table besides the one or two players involved 
  have nothing to do but sit and listen to people describe their 
  carnal knowledge.  Probably best to say something like, “She 
  falls into your awaiting arms, trembling… yadda, yadda, 
  yadda, you wake up the next morning with her sleeping next 
  to you.”  
  Unfortunately, there’s no in-game benefi t for scoring with 
  one’s character.  Let’s say I describe this delicious ham and 
  cheese sandwich to the players.  It’s on the other side of the 
  ballroom.  Th ere are guards, pickpockets, and other potential 
  dangers standing between the adventurers and that delicious 
  
   55 
  Jokes
  Jokes
  Even if your campaign and Game Mastering style are super 
  serious, it’s nice to provide a litt le levity.  “You’ve cornered the 
  sorcerer without means of egress.  With a snarl and nasal whine, 
  he says, ‘Cal-gon, take me away!’  At which point, a phoenix 
  glowing with orange and red magical fi re swoops in from out of 
  nowhere, grabs the sorcerer in its claws, and fl ies him away to 
  safety.”  Th at’s probably going to get a laugh or two.  Lightening 
  the mood can make the darker areas of the campaign even more 
  shadowy.  So, don’t be afraid to go for the funny every so oft en.
  In a recent campaign of mine, the party tiefl ing managed 
  to acquire a fl aming sword… eventually realizing that its 
  command word was “Penelope.”  Th at running joke was a 
  pleasure, delivering laughter with every utt erance.  Combine 
  an encounter with something both expected (a genie in a 
  lamp) and unexpected but silly (everything cool wished for 
  must be yanked out of a giant chicken’s butt ).
  Language
  Language
  Language must be the building blocks of communication.  
  It’s so important that it has become commonplace.  It’s 
  everywhere!  Oft en, we don’t see the necessity of language 
  and how language can be used to infl uence our conception 
  of the world.
  Th at’s why I suggest giving some thought to the names of 
  people, places, and things, everyday expressions used by 
  folks of that region, and prett y much everything NPCs say. 
  Language is at the heart of your campaign.  You only need 
  a few linguistic missteps before your world appears more 
  “fake” than a woman competing for the same man.  Say 
  the name of your campaign’s home city aloud just to make 
  sure it doesn’t sound stupid.  Use Latin if you can’t think of 
  anything evocative in the way of spells.  Pay att ention to any 
  words surrounding your favorite NPC.  
  Notice the diff erence between the following names:  Garret.  
  Garret the red.  Garret Starkfellow the Red.  Th e former 
  doesn’t really make us think of fantasy.  Th e second is bett er; 
  adding “the Red” gives “Garret” an extra something so that 
  it qualifi es as pseudo-medieval.  It would be fi ne if that NPC 
  was merely doing a cameo in your campaign (like a single 
  encounter).  Th e last is suitable for a recurring NPC that 
  the adventurers will be talking to (and about) for multiple 
  sessions.  Th e more prominent the character, the longer his 
  name should be.  Pay att ention to these naming conventions 
  and whatever seems suitable to you.
  Like creating encounters, it’s alright to take two existing 
  doling out bits and pieces of information a litt le at a time.  
  Th is creates the illusion of layers and a deeper mystery, even 
  if there wasn’t any when the session began.
  Th e not knowing will drive the story forward because your 
  players and their characters are motivated by curiosity.  Th e 
  unknown is a powerful force.  Don’t abuse it by making 
  the discovery worthless or lame.  Th e bigger the buildup, 
  the bigger the payoff  needs to be.  Otherwise, it will seem 
  anticlimactic and everyone will think you suck.  So, avoid 
  sucking by giving the players a thrilling secret at the end of 
  your breadcrumb trail.  
  Perhaps the “ice people” tapped in their cryogenic chambers 
  aren’t from the distant past but aeons in the future!  Maybe 
  the infamous witch-cult the adventurers have been dealing 
  with is led by a demon possessed by an ancient dragon.  Or 
  the island they shipwrecked on is not only sentient but full of 
  self-loathing, wanting the PCs to destroy it utt erly.
  Three Things at 
  Three Things at 
  Once
  Once
  Doesn’t have to be three, but any more than that and the scene 
  will start to get confusing for everyone (including you).  At 
  some point in the campaign, you should have multiple events 
  or encounters occurring simultaneously.  Th is will cause a bit 
  of chaos and confusion… not too much, just the right amount.  
  And then they’ll have to make choices.  What do they do fi rst?  
  Will each of them decide to take on separate tasks or all try to 
  accomplish the same goal (if so, which one fi rst?)
  For example, your party is trying to pilot a starship while 
  it’s plummeting to their home world.  It crashes.  Luckily, 
  everyone’s still alive, though one or two PCs might not be 
  conscious.  As the PCs are struggling to exit the ship, they’re 
  notifi ed by the ship’s computer that the nuclear reactor core 
  will blow in fi ve minutes unless something is done about it.  
  Meanwhile, the ship is crawling with zombies and the planet 
  is teeming with dinosaurs.  In fact, a T-Rex is menacing the 
  crashed starship as we speak.  
  Th e players might look at you shell-shocked, as if to say, “Is 
  that it?  What the Hell?”  Just look back at them, ready to 
  narrate the eff ect of their action or inaction.  Th is could be one 
  of the most exciting moments of the campaign.  Overusing it, 
  like almost all of these techniques, is a bad idea.  However, 
  implemented sparingly, it will provide a satisfying scramble, 
  sweeping the players up in its current.
  
   56 
  
   57 
  Prophecy
  Prophecy
  Prophecies are a powerful way of conveying information 
  because they’re mysterious.  Th ere’s so much players don’t 
  know about them.  For instance, how does one become a 
  prophet in your campaign?  Are (or were) prophets revered, 
  worshiped as gods, denounced as witches and warlocks, 
  ridiculed when they were alive?  What about aft er they’ve 
  died?  Are prophecies considered visions of the future, dream-
  like revelations that must be interpreted before they’re writt en 
  down?  Was the prophet a time traveler who actually knew 
  what was going to happen?  Are these prophecies discerned 
  from cyclical patt erns in history?  Are some of them lucky 
  guesses?  Are they contained in a book, hologram, crystal 
  shard, oral tradition, writt en upon the sand, painted upon 
  cave walls, carved onto temple shrines, or into the fl esh of true 
  believers?  Who acknowledges these prophecies anyways?
  Including a prophecy doesn’t have to be a huge deal.  Th ey 
  can be quickly referenced and then forgott en, perhaps like 
  the prophets themselves aeons ago.  Or maybe your entire 
  campaign is based around strange beliefs hatched centuries ago 
  by a mad philosopher, octave of wizards, or tribe of amazons.  
  Slavery
  Slavery
  We live in enlightened times, far removed from a barbaric 
  age when fi ghters wielded big ass swords and sorceresses 
  showed a bit of leg and cleavage.  Th ey had slaves in those 
  times.  Slaves who did all the manual labor (building temples, 
  farming, digging ditches, etc.) and fi ghting (gladiators, 
  soldiers, cannon fodder, etc.)
  For many civilizations, slavery was a way of life.  How 
  prominent should slavery be in your campaign world?  If 
  slavery has been abolished, then think about how that came 
  to pass.  Assuming that having slaves is the norm, how are 
  they treated?  Badly is the obvious choice, but go deeper than 
  that.  Are they constantly abused to the point where slave 
  revolts and suicides are a problem?  If one slave revolts, are 
  the rest of a household’s slaves put to the sword?  What about 
  their families?  Can a slave buy or win his freedom?  Maybe 
  slaves automatically become free aft er a certain period of 
  time, like 10 years?  How about a humanoid convicted of a 
  crime?  Can he choose to live as a slave instead of wasting 
  away in a cell?
  How much does it cost to buy a slave?  What if the PCs capture 
  an enemy but don’t want to kill him or let him go?  How much 
  gold would they expect to get from selling a goblin, orc, gnoll, 
  or dark elf into slavery?  Perhaps freeing slaves becomes 
  names you like and merge them in order to create something 
  new.  For instance, say we have Zaknafein and Th undarr.  How 
  could we hybridize them to make something cool and unique?  
  Zathund… Tarrfek… Urrkez… Nerrthak… Nuthafein… 
  Aezarr, etc.  Obviously, they’re not all going to be winners, 
  but chances are you’ll fi nd one or two that you like and all it 
  took was a couple minutes or rearranging lett ers.
  If you have the ability to create interesting and sett ing-
  appropriate names, then do so.  If you fi nd it diffi  cult, then 
  do your best to borrow those you hear or read throughout 
  the week.  At the end of this book I’ve included a language 
  I created called Viridian.  It’s meant to be a dark language, 
  occasionally used for ritual magic.  If you need a weird name 
  for something in a hurry, feel free to dive in.
  Factions
  Factions
  Your campaign needs factions.  Factions are groups of 
  people with diff erences.  Th ose diff erences bring them into 
  occasional or constant confl ict with each other.  Th is is life.  
  Without factions, you have a world that doesn’t look very 
  much like ours.  
  So, what kind of diff erences should these groups have?  
  Maybe some of them wear masks while others wear black 
  robes or a crimson sash.  Perhaps one faction hates orcs while 
  another harbors orc immigrants.  Is there a valuable but 
  scarce commodity that multiple factions want?  Certainly, 
  religion is as good a reason as any to divide people.  What 
  about education, equality, division of labor, disparity of 
  wealth, location, food, sex, etc.?
  Factions are especially important in sandbox type adventures.  
  Th ere should be multiple groups that PCs can talk to, bargain 
  with, escape from, hunt down, and coerce into doing their 
  bidding.  Once you have several groups that want diff erent 
  things, you have an unpredictable (maybe even fragile) 
  ecosystem ready to play with.  Th e adventurers are the x 
  factor capable of changing everything.  Th at means some 
  or all factions will pay att ention to newcomers who might 
  become the key to gett ing what one or more factions want.   
  
   58 
  propensity for wett ing herself while laughing.  On the face 
  of it, such information is stupid and meaningless (in the 
  context of the party’s goal).  Yet, it’s also intriguing enough 
  to get one or two PCs wrapped up in events and one thing 
  leads to another.  Perhaps the fi ghter and rogue wish to test 
  this information out and if it’s true, use it to their advantage 
  somehow.  So, they come up with a few bad jokes and start 
  telling them to the Duke’s daughter, Lysandria.  Of course, 
  that makes Lysandria’s suitor jealous because he was about 
  to suggest they take a romantic moonlit stroll.  So, her suitor 
  orders one of the waiters to pants them or accidentally pie 
  them in the face.  
  Done right, whole sessions could be dominated by some 
  weird social etiquett e, faux pas, pet peeve, or idiosyncrasy. 
  Keep in mind, not every player will be jazzed about this turn 
  of events.  Some players may fi nd it downright stupid.  If that’s 
  the case, keep your Seinfeld moments few and far between.  
  Familiar Monsters 
  Familiar Monsters 
  but with a Twist
  but with a Twist
  Given the choice between standardized game-play and non-
  standardized, most gamers will choose the latt er.  Aft er all, 
  the unknown is a hell of a lot more interesting than boring 
  same-old-same-old.  Ideally, every single session should have 
  either a monster the players have never seen before (diffi  cult 
  but not impossible) or a familiar monster that’s been tweaked 
  (easier than you’d think).  Surprise is the name of the game!
  Come up with a monster that everyone’s seen before: troll, 
  ogre, goblin, giant, dragon, demon, and so forth.  Now 
  think of a clever twist such as the following:  it resembles a 
  scorpion, spider, squid, or ooze.  Make that familiar monster 
  the Lovecraft ian aberration version of its kind.  Make it a 
  spell-caster, undead, or cybernetic.  Give it a magic item, 
  enchantment, or psionic power.  Perhaps it’s hyper-intelligent 
  and came up with an ingenious trap to spring on intruders 
  as the creature defends its lair.  Maybe the thing is only 
  slightly diff erent, like a natural adaptation – instead of its 
  poison draining constitution, the venom imposes a kind of 
  rigor mortis, stiff ening joints so that one has disadvantage on 
  att acks, physical-based skill checks, and saving throws.
  Sometimes, just using a diff erent name will give a familiar 
  monster an air of mystery.  Instead of a hobgoblin, call it 
  a boggen or hogobb.  If you prefer, go with a brief, vague 
  description:  orange-skinned humanoid just a few inches 
  taller than a dwarf.  Make them glow in the dark or give 
  the campaign’s ultimate purpose.  Conversely, what if the 
  PCs’ main objective was to enslave an entire realm and its 
  people?
  Time Travel
  Time Travel
  At some point, include time travel in your campaign.  Perhaps 
  a human or humanoid time traveler from the future or past, 
  an object moving through time, a vehicle, or merely an arcane 
  volume discussing time and relative dimensions in space.
  Feel free to base it on magic, quantum physics, demonic 
  entities, or some curious force outside the known universe.  
  How it works doesn’t matt er as much as the cool factor of 
  actually having time travel in your game.  
  Th is allows your players to go back in time and correct 
  mistakes they made and fi nd out what happens to the world 
  based on actions they took, with opportunities to make a 
  few gold pieces along the way.  Be forewarned, Game Master, 
  at least a couple adventurers will want to try it out.  Even if 
  you put the possibility beyond their reach, they may “waste” 
  several game sessions moving heaven and earth in order to 
  travel through time.
  One of the best sessions I’ve ever run incorporated time travel.  
  Th e PCs took part in this dark ritual to awaken an Elder 
  Th ing.  Th ey discovered what a bad idea that was aft er it was 
  too late.  However, a temporal gateway nearby allowed them 
  to fi x things by preventing the ritual from being completed in 
  the fi rst place.  
  Seinfeld
  Seinfeld
  Ah yes, the show about “nothing”.  I encourage you, through 
  eccentric NPCs, to make a big deal about the litt le things, 
  such as polishing a sword from left  to right in order to get 
  the best shine, not laughing when gnomes tell a joke (it only 
  encourages them), or praying to the god of fruit before biting 
  into a pineapple because not only is he very sensitive for a 
  deity … he’s also incredibly vain.  Failing to do so may cause 
  the pineapple to go sour, draw monsters, or lead to diarrhea 
  (so much diarrhea!) 
  It is the idiotic characters the adventurers meet who create 
  the sound and fury signifying nothing.  Th ese NPCs must be 
  personable in some way but not necessarily likeable.  Th ey also 
  have to be convinced that they know something important, 
  something which must be shared – like the Duke’s daughter 
  
   59 
  housed in a matching case with black velvet interior?  Could 
  he resist such fi ne instruments at ten times the going rate?  
  Personalize it, make it unique in some way – not everything 
  needs to be magical.
  Need to fl eece the mid to high level PCs of their largesse?  How 
  about that castle or stately manor they purchased?  Upkeep, 
  furnishings, enchantments, parties, guards, guides, advisors, 
  artists (are they not patrons of the arts?), hirelings, dancing 
  girls, taxes, lawyers (who’s going to make sure those contracts 
  are kosher?), bank fees, damages, expenses, research, bribes, 
  protection money, supplies, rations, bad investments, loans, 
  etc.   Real estate depreciates.  Th e men need entertainment.  
  Boats require an undercoating.  Anonymous peasants come 
  out of nowhere to pick up the crumbs the party leaves behind.  
  Merchants can smell a juicy deal and con men opportunity.  
  Is the party an easy target for thieves?
  Conspiracy
  Conspiracy
  You’re not paranoid.  Everyone is, indeed, out to get you.  Who 
  doesn’t love a good conspiracy?  If your campaign world is as 
  big and bold as it should be, there will be desperate, insane, or 
  ambitious individuals who either want power for themselves 
  or to introduce a frightening change to the realm (possibly 
  both).  
  At some point, the PCs should accidentally (or purposefully) 
  bump into this cabal of movers and shakers.  If it’s going to 
  be later rather than sooner, I recommend leaving a mystery 
  along with a diffi  cult to discern clue here and there in order 
  to build believability.  Th e crazier this conspiracy is, the more 
  you’ll want to corroborate their existence with a half-burned 
  lett er, animal mask, strange symbol, newly-minted foreign 
  coins, feverish rambling of a dying man, dreams, secret 
  handshakes, and late night meetings.  
  Perhaps there are multiple conspiracies happening?  Are 
  they connected to well-established factions?  Are they 
  splinter groups or rogue agents?  Does every member of the 
  organization subscribe to the same belief system?  Maybe it’s 
  not an organization at all but completely autonomous zealots 
  or a single thief.  Is this what the council of wizards gets up to 
  during a horned moon?
  With a conspiracy, there should be a feeling that reality is 
  so labyrinthine - obscured by dark secrets, half-truths, and 
  the corrosion of time – that it might always be shrouded in 
  mystery.  Certain individuals will stop at nothing to conceal 
  what they have done or plan to do.  When dealing with 
  them black eyes as if possessed by a demon.  Coming up with 
  a mechanical diff erence would be nice but isn’t necessary.  
  Even juicing up superfi cial aspects will be appreciated.
  Treasure
  Treasure
  It’s one of the rewards that come with adventuring.  Sure, 
  there’s experience, recognition, satisfying curiosity, and 
  knowledge of a job well done; but it all pales in comparison 
  to loot!  Make it useful (or at least interesting), make 
  it memorable, and keep it coming.  Th is should be self-
  explanatory but let’s go through it anyway.  
  About half the treasure the PCs acquire should be at least 
  usable by an adventurer if not immediately useful… with one 
  or two items potentially ass-saving down the road.  At least 
  one piece of treasure per haul should be interesting enough to 
  literally write home about.  Maybe it has a rich history (once 
  owned by the Marquis de Sade), does something no other 
  item can do (allows you to play checkers with Azmodeus), 
  or looks a certain way (encrusted with hexagonal night-opals 
  that have sparkling mineral crystals growing inside of them).  
  At the very least, give it some runes, set it off  with a decent 
  sized ruby, or have the thing play a Cliff  Burton bass solo 
  when no one’s looking.  
  Lastly, don’t forget that awesome treasure should be a staple of 
  your campaign.  We’ve all heard about the Game Master who 
  thinks it a good idea to let the fi rst dozen sessions eventually 
  lead up to a +1 sword.  Sure, aft er eleven sessions of nothing, 
  it may seem like the Holy Grail by comparison, but that’s just 
  being stingy in my book.
  Showering PCs with obscene amounts of wealth is also 
  recipe for disaster (unless it comes with a heft y price tag later 
  on), especially if you’re doing it every session.  Even though I 
  love doling out powerful magic items and chests full of gold 
  pieces, there are occasional sessions when they get nothing.  
  However, that’s the exception rather than the rule.  
  Th roughout the campaign, characters should have the 
  opportunity to bolster the economy.  Buy, buy, buy!  Why 
  horde gold, gemstones, wands, and magic swords if they can’t 
  be used to purchase items both necessary and frivolous?  
  Towards the end of the campaign, assuming they haven’t 
  squandered all of it, perhaps they stumble upon a tower for 
  sale, the mining rights for Mythryk Mountain, or an armada 
  of invincible naval strength.  What if the party’s rogue comes 
  across a set of monogrammed thieves tools made out of 
  ebony and steel with pearl inlay in the shape of a dragon, 
  
   60 
  Pretty Woman
  Pretty Woman
  Nope, not talking about prostitutes – though, it might not 
  be a bad idea to include a few ladies of the evening in your 
  campaign.  Rather, this item is about the intoxicating allure 
  of a beautiful woman: her lips, eyes, nose, hair, breasts, butt , 
  hips, legs, feet, scent, her walk, the way she carries herself, 
  etc.  
  In this civilized age, people forget.  Before TV, movies, 
  magazines, DVDs, video games, the internet and all that 
  stuff , a wizard or warrior got to see a drop dead gorgeous 
  female once in a blue moon.  And that’s usually when he was 
  adventuring in a large city.  If he stayed in his litt le village 
  or the dungeon, forget about it.  So, in that world, bearing 
  witness to such heavenliness is akin to glancing at a +5 vorpal 
  sword of dragon slaying.  Powerful stuff .
  Indeed, sexy women make the world go round.  Without going 
  overboard, pepper your campaign with exquisite curves, 
  creamy thighs, and delicate ruby-red mouths.  Seduce the 
  players with her physical att ractiveness.  Compare her to a 
  famous celebrity like Megan Fox or Kristen Bell.  Bett er yet, 
  come prepared with a picture of some unknown woman from 
  the internet or evocative piece of RPG art.
  subordinates, they either lie or get rid of loose ends.  No 
  captured NPC – no matt er how strong his interrogation – 
  can reveal the entire plan.  Th e shadowy network goes on as 
  it always has because there’s something at the core of a good 
  conspiracy that drives it and keeps driving it.  What is the 
  secret?  
  Thieves and 
  Thieves and 
  Assassins
  Assassins
  Th e underbelly of your campaign world will be fi lled with 
  characters both utt erly reprehensible and mildly shady.  
  Th ere’s a vast middle ground taken up by thieves and 
  assassins.  What they do is illegal (most of the time), but it’s 
  also extremely profi table if done right.  It’s profi t that creates 
  networks around such artisans of shadow.  Th ese networks 
  eventually become organizations, houses, leagues, lodges, 
  clubs, companies, guilds, sects, cabals, and cults.  
  Th ieves don’t play fair.  If they did, they wouldn’t be thieves.  
  An expert thief, especially one belonging to a guild, won’t take 
  kindly to other thieves poaching his back alleys.  He’ll want 
  his cut, and he’ll know where to go if he needs enforcers.
  Do the thieves of a certain city bend the knee before some kind 
  of lord, kingpin, mastermind, sinister sorcerer, or villainous 
  were-rat?  Are the city’s assassins his private executioners?  
  What if a realm has multiple bosses?  Maybe a territory’s 
  thieves and assassins work in harmony or perhaps they’re 
  constantly at odds with each other.  Are there some pockets 
  that thieves aren’t allowed to pick?  Would an entire house 
  of assassins be annihilated if a well-connected noble were 
  murdered?  How easily could a guild of thieves or assassins 
  be infi ltrated?
  When it comes to the criminal element, don’t expose any 
  secrets too quickly.  Nothing ruins shadows more than 
  the bright light of truth.  Th e dregs of society know this 
  and so should you.  Information (assuming it’s accurate) 
  should be doled out a litt le at a time, probably interspersed 
  with disinformation that might get the PCs into trouble.  
  Such as this tip from a bott om-feeding rogue: Cardinal 
  Re’Chelaise will be the Jackal’s next victim.  Unfortunately, 
  the adventurers might not learn the truth until it’s too late 
  - that Cardinal Re’Chelaise is the one hiring the Jackal to 
  assassinate an ecclesiastic rival.
  
   61 
  Religion, Priests, and 
  Religion, Priests, and 
  Divinity
  Divinity
  Presumably, you have some form of worship in your campaign 
  world.  If not, make sure that’s mentioned in the beginning – 
  especially if anyone’s thinking about playing a cleric.  Why 
  shouldn’t clerics be able to draw on Mother Nature like druids 
  or pain and pleasure like some kind of Clive Barker priest?  
  You can do a lot with religion and the gods.  It doesn’t have 
  to be a major part of your sett ing, but it should be included 
  somewhere.  
  Is there more than one god?  Do the gods get along or do 
  they hate each other?  Are they well known or shrouded 
  in mystery?  Are human beings merely pawns in a great 
  batt le between gods?  Do they demand sacrifi ces… human 
  sacrifi ces?  Is there one god above the others or one group in 
  charge of another?  Do they pre-date the world or time itself?  
  Are they recent additions to the world?  Are the gods dying?  
  Do devil-gods exist as well, or are the most powerful devils 
  banished to the lower planes with their demonic brethren?  
  Besides priests and clerics, who else cares about the gods and 
  why?  Should wizards bother about divinity?  Is there a god 
  of magic?  
  What if the gods are actually aliens?  What advancements 
  or wisdom did they bring to the people?  What if they are 
  extremely powerful creatures of legend?  Can the gods be 
  killed by mortals?  What if someone used an artifact or relic 
  from ancient times to slay a god?  What would that do to the 
  fabric of reality?
  Rather than focus on the gods and following the ripples 
  moving outward, you might want to focus on the people 
  and allow their behaviors, customs, and traditions reveal 
  the powers-that-be and their motives.  For instance, what 
  do the citizens of a particular city-state do in order to assure 
  themselves a place in the aft erlife?  How do the townspeople 
  of Daadros stave off  otherworldly punishment, curses, or 
  plagues?  What does a certain realm fear?  What gives them 
  nightmares?  Whom do they turn to when the end seems 
  near?  Why do all of them wear such strange yellow masks?
  Let’s say the god of true seeing forbids humanoids to have 
  more than two eyes.  It may seem to the metagaming-
  minded players that there’s no reason why the people of Th in 
  Mountain would burn out a third eye if any human was found 
  to bear such a thing.  Aft er all, no one in the party has a third 
  eye and they’re not aft er anyone with a third eye – so why 
  should it matt er?  
  Unreliable Narrator
  Unreliable Narrator
  You should give adventurers enough information to make a 
  choice, to take action.  Most of the time, this information will 
  be correct.  As the Game Master, you are their fi ve senses.  
  Without accuracy, the world will seem two-dimensional at 
  best and yet another way to screw the PCs at worst.
  Th is brings me to one of those few times when you deliberately 
  give the adventurers false, incomplete, or misleading 
  information.  At some point during the campaign, you’ll sow 
  the seeds of disinformation.   Th ere’s a number of ways to do 
  it…
  1.  A couple PCs will be given one side of the story, a 
  couple PCs will have a slightly diff erent version, and a 
  third group will either know nothing at all of the events 
  in question or something radically diff erent.  
  2. An NPC will knowingly lie to one or more of the PCs.
  3. An NPC or group of NPCs will tell the PCs what they 
  believe to be true but is actually false.
  4. All evidence leads the PCs to a certain conclusion, a 
  wrong one, as it turns out.
  5. Legends, rumors, old wives tales, and folklore mislead 
  the PCs.
  Separating the party, if only for a few moments, is a good way 
  of disseminating contradictory information.  Perhaps one of 
  the characters fi nds a scrap of paper on the ground.  Maybe 
  a note is slipped into another character’s backpack.  Magic 
  can be a useful tool, allowing a PC to visualize prior, albeit 
  skewed, events in his mind’s eye.
  As the Game Master, you are free to pass notes to players as 
  you like.  Th is is information that a single character receives, 
  not meant for the entire table to overhear.  Seeing private 
  notes being passes will certainly make players question what’s 
  going on.  Who do you trust and how far?  Is my companion 
  giving me the whole truth or concealing something from me?  
  Th ese are the kinds of questions you want the adventurers to 
  ask themselves.  Like anything else, overusing this technique 
  turns your fantasy RPG into spy versus spy.  
  
   62 
  be at least one secret society – a cabal of sorcerers who have 
  a particular goal.  Th is shadowy group needs protection, 
  infl uence, wealth, and power… maybe an army, too.  How 
  and where are they going to get that?  Will they start small by 
  annexing Strausburg or hold the entire realm for ransom by 
  threatening to poison cloud everyone to death unless their 
  demands are met?  Magocracy, bitches!
  Th is, of course, feeds into how wizards get their power.  Your 
  RPG system of choice will probably have a few answers, 
  but that doesn’t mean you can’t fi ll in the gaps or go off  in 
  your own direction.  Want things more sword & sorcery?  
  Magic-users must make pacts with demon lords and dark 
  gods.  Want magic to be more mysterious?  Fine, it’s some 
  outré force that only a few individuals have the ability to tap 
  into.  How about starting off  mysterious and then coming 
  up with a pseudo science-fantasy explanation?  Something 
  borderline ridiculous… like midichlorians.  If magic comes 
  from performing rituals with pentagrams, sigils, gestures, 
  and just the right words in Latin or infernal, then perhaps 
  books are more valuable than chests full of gold.
  How does magic appear to other wizards?  How does it appear 
  to common folk?  Like a zap of lightning; glowing yellowish-
  green mist covering the ground; or tiny imps leaping to 
  action, carrying out their master’s bidding?  Is there a scent 
  of sulfur and brimstone att ached to certain incantations?  
  Maybe it smells of the sea?  Would a spell’s potency be greater 
  if performed under a horned moon, during a blood sacrifi ce, 
  or in front of a black mirror?
  Rather than simply telling the players all this, let such things 
  be revealed slowly.  Scrolls and tomes aren’t just for giving 
  PCs one-shot spells and rituals.  Instead, such mystic papery 
  things may initiate wizards into the ways of dream magic, 
  fl esh magic, or even candy land magic! 
  Universal Truth
  Universal Truth
  Ideally, there should be a moment in your campaign that 
  refl ects or exemplifi es a profound, universal truth.  A moral 
  to the story, if you will.  It could be that power corrupts, you 
  get out what you put in, there’s no honor among thieves, evil 
  prevails when good men do nothing, love conquers all, the 
  self is an ever-changing mask we wear, beauty is in the eye of 
  the beholder, or that the love of money is the root of all evil.
  Universal truths can help you develop an underlying theme 
  to your campaign.  Don’t beat your players over the head with 
  it.  Let it keep to the shadows until it becomes obvious… nay, 
  Well, for one thing, there’s more to a campaign world than 
  gett ing adventurers from point A to point B.  For another, 
  you’re showing players that dwellers on Th in Mountain don’t 
  just casually pay homage to some out-of-touch deity with 
  a short prayer before the last meal of the day.  No, religion 
  matt ers to them.  Th ere are conventions, duties, and edicts 
  that have to be observed.  Now, it’s your job as Game Master 
  to think of a reason.  Is the god of true seeing jealous?  Is he 
  afraid of men fi nding out his dark secret?  Is there a prophecy 
  about a three-eyed man bringing destruction to Th in 
  Mountain that only the god of true seeing knows about?
  Th e more questions you ask (and answer), the bett er 
  understanding you’ll have about religion in your campaign.  
  You want a balance between unique and same old, same 
  old.  Strangely familiar but still mostly unexpected – with a 
  nod to the really out there!  Religious extremism probably 
  exists in every world.  And if it doesn’t, you’ll need to come 
  up with a good reason why that is the case.  Why?  Because 
  religion makes certain people fucking nuts!  If a religion or 
  religious leader can convince people to give into their most 
  basic instincts and darkest desires while adhering to their 
  noblest sensibilities and loft iest principles, something is born 
  akin to the Crusades, Salem witch trials, and Nazi Germany.  
  Sometimes all it takes is the right place, right time, and a 
  charismatic leader.
  Council of Wizards 
  Council of Wizards 
  and the Nature of 
  and the Nature of 
  Magic
  Magic
  If you’re running a fantasy RPG, there will be magic.  Th ough 
  magic is outlandish, you must take it seriously in the game.  It 
  must be internally consistent, obeying the same physical and 
  supernatural laws as everything else in your campaign.  
  Th ink about what our world would be like if magic (like 
  shooting fi reballs out of your hand) were real and practiced 
  by… say, 10% of the population.  Would society treat them 
  like mutants in the X-Men?  Would royalty covetously keep 
  wizards all to themselves?  
  Is there some kind of guild or council?  Who watches magic-
  users to make sure they aren’t trying to take over the kingdom?  
  What if they already have taken over?  Are sorcerers bound to 
  a code, oath, or demon?  What environmental impact does 
  magic have?
  Even if magic feels pedestrian in your world, there’s sure to 
  
   63 
  oust the shadow mage from his villainous hideout.  
  Volcanoes are found all over the world, from South America 
  to Scandinavia – even underwater!  Th ere’s something cool 
  about them.  Nature at its most primal and destructive!  
  Besides dinosaurs and glaciers, it’s one of the only subjects I 
  wanted to learn about in grade school science class.  Include 
  one or more volcanoes in your campaign.
  What about an ice volcano that spouts icy molten sludge 
  so cold it burns?  An entire city might be frozen, perfectly 
  preserved at the base of such a volcano.
  Seasons
  Seasons
  What time of year is it and what does that mean for the land 
  and its people?  Not only are the seasons realistic, they’re 
  also metaphorical.  Everything changes, yet within that 
  change there are cycles, patt erns, and recurrences.  When the 
  campaign shift s, I encourage you to show the PCs a seasonal 
  shift .
  Consider the weather, temperature, fl ora, fauna, terrain, etc.  
  Is the winter mild or harsh?  Is the summer welcoming or 
  brutal?  If much of the campaign is happening underground, 
  does the present season aff ect the PCs?  Would a seasonal 
  change make any diff erence?  It might if giant ice worms 
  burrowed their way up to collect water for their young.  
  Perhaps a spring thaw creates subterranean lakes where 
  before there were only shallow pools.  What about some 
  kind of weird season that’s alien to us?  For example: black 
  fl ower petals falling from the sky; the ground continually 
  cracking beneath your feet, opening up chasms everywhere; 
  or alternating hot and cold temperatures on a daily cycle.
  First frost could be honored with all manner of traditions, 
  such as gift  giving, feasting on the fl esh of a three-headed 
  dog, or a week of celibacy.  What about the 5 or 6 weeks of 
  drought in the middle of summer?  Th ere’s probably water 
  conservation rituals observed by the citizens of Th yr.
  Signiﬁ cant Events
  Signiﬁ cant Events
  Th ese signifi cant events are still in the realm of the ordinary 
  world and “real life”.  Th ings like weddings, funerals, rites 
  of passage, births, birthdays, anniversaries, retirement, 
  christening boats, celebrating victory in batt le, the grand 
  opening of a business… you get the idea.  
  inevitable that Senna, the dark elf princess, would betray the 
  Queen in order to obtain the Nyazian scrolls.  Th at inevitability 
  is what you want from time to time, possibly elevating your 
  scenarios to the level of Graeco-Roman theatre.  
  Alien Technology
  Alien Technology
  Th ere’s something believable about extra-terrestrial life.  
  Science fi ction is, aft er all, based on science (to some degree).  
  Most of your players would have to admit that sentient life 
  on other worlds is possible and maybe they’ve already visited 
  earth in the distant past or are already here in the present.  
  Where there’s aliens, there’s alien technology.  Besides 
  believability, alien technology is a familiar genre trope.  
  And in my personal opinion, the best fantasy is science-
  fantasy.  Even if most of your campaigns strive for medieval 
  authenticity, every once in a while I recommend you throw 
  a laser pistol, trans-mat beacon, gravitational displacer, or 
  polarity reversing omni-tron into the mix.  
  How to describe such a thing to the PCs?  Well, there are a few 
  diff erent ways… 1) Try to describe everything as best you 
  can from the characters’ perspective.  Th e players might not 
  understand what you’re talking about, which is fi ne because 
  neither should their characters.  2) You can come right out 
  and say that this is advanced, unfamiliar technology which 
  the characters can’t fully fathom.  3) You can show them a 
  picture, reminding everyone that this looks unlike anything 
  the characters have ever seen.
  If someone from that alien or advanced civilization is present, 
  even bett er.  You can draw out the explanation through 
  roleplaying or simply tell the players that X’endarr explains 
  the device in question using basic terms and simple analogies 
  so that the characters have a rudimentary understanding of 
  what a fragmentary grenade is and/or does.
  Volcano
  Volcano
  A mountain range is nice and all, but including one or more 
  active volcanoes is the cherry on top.  Some players will be 
  expecting it, others will be pleasantly surprised to discover 
  molten lava fl owing down, villages swallowed by black rock, 
  or a bubbling red lake of fi re once they’ve reached the top.  
  Can it be dormant?  Yes, but it should still be on the verge 
  of being active.  Maybe the scenario is about keeping the 
  volcano from erupting or perhaps it must erupt in order to 
  
   64 
  Such events might seem minor in comparison to dragons 
  burning villages to the ground, ruthless warlords enslaving 
  the local population, and the world about to be sucked 
  into a Hell dimension.  In fact, they are.  But just because 
  they’re minor doesn’t mean they’re not worth mentioning.  
  Adding a signifi cant event here or there can add depth and 
  verisimilitude to your campaign.
  Girly Stuﬀ 
  Girly Stuﬀ 
  Rainbows, unicorns, pegasi (winged horses), mermaids, and 
  princesses in fl owing pink ball gowns, etc.  Are there any 
  women in your gaming group?  If the answer is yes, then 
  including something girly is a good idea.  If not, then it could 
  go either way.  
  “Girly”, of course, is a subjective and sexist term.  Oh well.  
  Even if things like unicorns and rainbows are more associated 
  with tween trapper-keepers than fantasy roleplaying, they 
  still have their place in the genre.  Why not an encounter that 
  includes crystal shoes, a diamond ring, enchanted nail polish, 
  or mascara that gives advantage to seduction rolls?  Th row in 
  some pixies, fairies, and sprites.  Let your pastel fl ag fl y!
  Over-the-top Villain
  Over-the-top Villain
  Almost every great story needs a great villain.  Someone 
  memorable, someone deliciously evil, someone worth 
  hating!  Do not underestimate the power of an unspeakable 
  adversary.  He or she will fuel the adventurers’ fi re, becoming 
  their prime motivation for adventuring.
  Th e PCs have to witness the villain doing or saying something 
  reprehensible, like sentencing a peasant to death for not 
  averting his eyes or deciding to pay the party only half of what 
  was promised because of some meaningless technicality.  
  However, being an asshole alone does not a great villain 
  make.  He or she must also be fascinating or compelling in 
  some way.  Make the villain physically impressive, incredibly 
  secretive, obnoxious but still charming, covered in serpentine 
  tatt oos, wearing an eye-patch with a ruby in its center, having 
  a cybernetic arm, or honey-blonde hair that her blue-scaled 
  monkey plays with incessantly while perched upon her 
  shoulder.
  Even if you’re not one for accents, distinctive patt erns of 
  speech, gestures, etc. try to make this over-the-top villain 
  come alive for the players.  Make him or her memorable.  I 
  
   65 
  
   66 
  into the mix… unless 1) you’re feeling extremely bold, 2) it’s 
  a convention game (that sort of thing is almost expected), 
  3) one-shot, or 4) you’re able to make it more subtle homage 
  than giant neon-sign of a reference.
  But it you’re running a quick and dirty fantasy campaign, I 
  encourage you to throw in some gonzo encounters here and 
  there; probably no more than one per session, unless you and 
  the players want to go all-in.  If you and the majority of the 
  table love that kind of thing, then don’t be afraid to crank 
  it up to 11.  What if the party traveled around the kingdom 
  as passengers of KITT  from Knight Rider, batt ling a super-
  triumvirate made up of bizarro Superman, the mirror version 
  of Spock, and Space Ghost?  Sure, it could easily devolve into 
  something stupid, but it might also be elevated to stupid-
  awesome given the right table dynamic.
  Test of Wills
  Test of Wills
  At some point, there should be a test, an evaluation 
  determining who has what it takes and who does not.  Along 
  the way, I’m sure your campaign will have obstacles that can 
  be navigated by strength, intelligence, charm, and wits.  But it 
  should also contain an obstacle that measures an adventurer’s 
  willpower.  
  I was watching a re-run of Big Bang Th eory last night and saw 
  the episode where Howard and Raj stuck their hands in a box 
  containing a big, furry spider.  Th e fi rst one to remove his 
  hand loses.  Th at’s a test of will (assuming one loathes spiders).  
  In the Flash Gordon movie, there’s that big green lump with 
  holes in it.  Put your arm in without gett ing a poisonous bite 
  from whatever lives inside and you’ve proven something 
  about yourself.  A similar thing happens in Dune.  Paul needs 
  to keep his hand in that box, even though it feels like his fl esh 
  is burning away.  Russian roulett e is another example.  What 
  about in Th e Lost Boys, where everyone is hanging onto the 
  tracks for dear life as a train goes over them… and then aft er 
  it passes they just let go. 
  Come up with some kind of test that reveals one’s character 
  and build an encounter around that.  It will be memorable 
  because of the sustained levels of stress your players will feel.  
  Of course, you’ll need to provide some stakes before the test 
  begins.  Maybe the PCs watch someone take the test ahead of 
  them – with dire consequences.  
  suggest more than a single quote prepared ahead of time for 
  this NPC – have several good lines jott ed down before play 
  begins.  Perhaps a favorite word or phrase such as “Ingenious”, 
  “My thoughts exactly”, or “Sharper than a serpent’s tooth is 
  the tongue of an ungrateful child.”
  Th is could be a recurring villain the PCs confront frequently, 
  a puppet-master operating in the shadows who uses pawn to 
  do his bidding but occasionally shows himself to deal with 
  crucial matt ers, or someone who appears at the campaign’s 
  beginning and then not again until its conclusion.  Multiple 
  villains are also fi ne, though maintaining the high level of 
  roleplaying needed could be an issue aft er a while.  Aft er all, 
  great villains take work.
  Gonzo
  Gonzo
  Gonzo isn’t the easiest thing to describe, people know it when 
  they see it.  But let me try… 
  Hunter S. Th ompson was a journalist who wrote from a 
  subjective, stylized point of view.  Frequently, Th ompson’s 
  articles would be writt en in the fi rst person.  By putt ing 
  himself at the center of things, not only was objectivity lost 
  but something else was gained – a perspective of immediacy, 
  authenticity, and accessibility, albeit skewed by the individual 
  in question.
  For most of us, gonzo just means wild and crazy.  A lot of my 
  wild and crazy ideas come from pop-culture.  Th ough, you 
  don’t necessarily have to borrow from TV shows, movies, 
  novels, and comic books in order to go gonzo.  Your gonzo 
  ideas could be unique and so outside-the-box that players 
  don’t quite know what to make of it.
  Here’s something gonzo that I’ve wanted to try out for a 
  while now:  Th e Kool-Aid “man”.  Yeah, it’s off  the wall.  But 
  why should everything in our campaigns make sense?  Why 
  not a Kool-Aid golem?  Why stop there?  I own a t-shirt with 
  a Cthulhu Kool-Aid monster with tentacles and an elder sign 
  on his pitcher of demonic, red sugar-water.  Th row that into 
  the mix.  Perhaps it’s cross-over from the real world, the real 
  world gone mad, a wizard’s nightmare, the Necronomicon, 
  an author cursed by the Nameless One so that his literary 
  creations come to life, or maybe there’s no explanation at all.  
  It just is.
  Gonzo isn’t for every campaign.  In fact, there are some 
  RPGs where gonzo just wouldn’t be right.  Take your serious 
  investigation, hard scifi , or vampiric storytelling games.  No 
  sense in throwing Egg Chan and his tour bus of China Town 
  
   67 
  might be a case of mistaken identity or some other form of 
  miscommunication.
  Remember that this is not you taking revenge upon the 
  players.  Rather, the party has earned the wrath of another due 
  to their hack fi rst and ask questions later att itude.  Th e NPC 
  taking revenge (along with his or her possible party members 
  and hirelings) might wait in the shadows, biding their time 
  until just the right moment.  Conversely, the revenge-seeking 
  NPC might strike whenever the person of interest is within 
  range.
  In the campaign I’m currently running, there’s a chaotic 
  neutral rogue, Arik, who slit the throats of two thieves that 
  were captured while raiding the PCs’ castle.  Th e thieves had 
  been hired to steal a magic weapon in the PC’s possession 
  and were cooperating fully.  When their usefulness had 
  ended, Arik put them to the sword, even though several party 
  members mumbled a feeble protest in the name of mercy.  
  Th at’s going to be the perfect opportunity for revenge.  
  One of the thieves had a brother who is now looking for a 
  litt le payback.  Perhaps he’ll leave an unintentional clue or 
  his calling card behind.  Or maybe he’ll hide in the bushes 
  and fi re a poison arrow when Arik leaves the castle.  Lots of 
  possibilities.
  Dinosaurs
  Dinosaurs
  Who doesn’t love dinosaurs?  Th ere’s just something awesome 
  about them.  Dinosaurs are like the dragons of prehistoric 
  earth.  If the existence of dinosaurs is possible millions of 
  years ago on this planet, then why not on the fantasy version 
  of earth?  If dinosaurs exist, then other things are possible. 
  It raises interesting questions about the world – is it similar 
  to earth’s past?  Are there also cavemen?  Will some natural 
  disaster eventually wipe them out as well?
  It’s no accident that you see dinosaurs all the time on TV, 
  in movies and books, etc.  Th ere’s a lost world quality about 
  them that speaks to many a gamer.  We’ve all imagined 
  ourselves back in time, fi ghting and fl eeing dinosaurs.  Why 
  not the PCs?  By the way, prehistoric creatures also count.  
  What about a Kraken-like squid or leviathan living deep in 
  the ocean?
  Want to be original?  Create your own alien hybrid dinosaur.  
  Maybe there’s a dinosaur that looks kind of like a giraff e or 
  spider.  Don’t feel like reinventing the wheel?  Just use the 
  standard tyrannosaurus rex, brontosaurus, triceratops, 
  pterodactyl, and velociraptor.
  Rescue
  Rescue
  Someone needs to be rescued.  Maybe its slaves mining 
  crystals, prisoners of a necromancer, or the princess being 
  forced to marry the half-demon duke.  Perhaps the PCs 
  themselves are in need of rescue… or escape!
  Imprisonment is one of those things everyone understands.  
  It’s terrible.  It also doesn’t end (unless there’s a particular 
  sentence that has one).  So, if the adventurers don’t succeed 
  the fi rst time, they can try again.  Th e same cannot be said of 
  a deadly trap.  Once that goes off , it’s curtains for the victim.  
  But confi nement against one’s will is always an option, always 
  a crowd pleaser.  
  Th ose confi ned are usually desperate.  Th ey’ll probably do 
  just about anything to get out of prison.  Evil humanoids 
  can off er their services, knowledge, loot, etc. for release.  Th e 
  PCs aren’t obligated to free anyone they don’t want to, but 
  such encounters will certainly add to a session’s roleplaying 
  appeal.
  Stillness
  Stillness
  As fun and exciting as it is going from one fi ght to another 
  and triumph aft er catastrophe, your campaign also needs at 
  least one point where nothing is going on.  Th ings should be 
  continually happening around the PCs, in the background or 
  foreground, but every once in awhile there should be nothing.  
  A point of stillness.  Characters can use this respite to refl ect, 
  chat up the barmaid, count their gold or blessings, or take an 
  uneventful stroll through the park.  
  You can think of it as a reward, a reset butt on, or the quiet 
  before the storm.  However you want to perceive it, it’s a good 
  idea.
  Revenge
  Revenge
  Somewhere along the way, the PCs will have inconvenienced, 
  ridiculed, crossed, double-crossed, left  for dead, murdered, 
  or in some way wronged an NPC or group of NPCs.  Not all 
  NPCs take that shit lying down.  Every once in a while, they 
  fi ght back – tooth and nail.  
  Your campaign will probably be full of opportunities 
  for revenge.  Although, if the adventurers are careful, 
  honest, and noble this will rarely come up and if it does, it 
  
   68 
  it creates an amplifi ed eff ect in some readers more potent 
  than either genre taken separately.  
  Within your campaign, include a crumbling castle delicately 
  perched upon a lonesome hilltop, bloodstains that can never 
  be cleansed, a character’s disquieting obsession with dead 
  bodies, black magic, debauchery, and people changing into 
  monsters.
  Don’t be too self-conscious about dipping into gothic 
  territory.  Th e line between parody and gothic authenticity 
  are blurred.  If it feels a litt le too much, cheesy, indulgent, and 
  so forth, then you’re probably right there in the sweet spot.
  War
  War
  War is woven into the fabric of civilization.  It shapes 
  everything.  Even the threat of war and recovery aft erwards 
  has a great impact on the world.  So, it stands to reason that 
  your campaign should include one or more details regarding 
  war.  When a PC asks why that bridge is out or how come that 
  tower is demolished, an NPC can always answer, “It was the 
  war.”
  Are the elves constantly fi ghting against the dwarves?  What 
  about a civil war between gnomes or half-orcs?  Perhaps one 
  group is fi ghting another they barely know.  Or that species 
  is on a diff erent planet.  Maybe it’s people versus plants or 
  beings made of pure energy.  Certainly, confl icting factions 
  will likely be part of your campaign, but how big is the 
  confl ict?  How invasive is the fi ghting?  Does every member of 
  the Yellow Sect hate the Purple Order or are most ambivalent 
  with only a few foaming at the mouth?  Perhaps the Seventh 
  Way Practitioners despise Th ose Who Wet Th e Monolith 
  With Th eir Blood but they, in turn, do not despise the 7th 
  Way.  Maybe they make war reluctantly or only fi ght in self-
  defense…
  Many things become tougher in war.  Supplies dwindle, 
  food gets scarce, the will to fi ght is broken with years of 
  horror and regret.  Of course, those coming back from war 
  is another issue.  Sure, they’ll have tales to tell but they’ll 
  also be changed by their experiences.  Th e war never quite 
  leaves them.  Carrying such memories makes for interesting 
  - sometimes tragic - NPCs.
  On the other end of the spectrum, a few profi t from war.  Maybe 
  they’re arms dealers, sell rare spell components, or mercenaries 
  who can do some of the fi ghting across the border.  War profi teers 
  are occasionally derided as opportunists.  Do most people see 
  them as cold-hearted vultures or smart business men?
  The Book
  The Book
  Every civilization worth writing about has some kind of 
  writt en language.  Presumably, there’s a single document or 
  collection of documents where that civilization’s knowledge 
  is recorded.  Use something like that in your campaign.  
  Keep in mind, it doesn’t have to be a traditional book.  It could 
  be stone tablets, a really long scroll or several shorter scrolls, 
  telepathic crystal, some kind of black mirror for scrying 
  past events, or you could go with the standard gigantic 
  tome bound in iron (or human skin).  Th is document could 
  contain ancient wisdom, religious teaching, contemporary 
  philosophy, demon resurrection passages, forbidden secrets 
  man was not meant to know, dire prophecies, dreamlike 
  revelations, or some combination of the above.
  Have NPCs mention the Nyazian scrolls, Necronomicon, 
  or Psalms of the Silent way before revealing the document 
  itself.  And whenever it is talked about, it should be in hushed 
  voices, whispered in dark alleys followed by a forlorn glare or 
  sign of the cross.  You want to build the book’s reputation so 
  that if or when the adventurers happen upon it, they treat the 
  thing with a bit of reverence instead of tossing it on the pile 
  of undivided loot.
  Gothic
  Gothic
  To a certain degree, this is what tabletop fantasy roleplaying 
  is all about: combining historical medieval and marrying it 
  with both the supernatural and skeptical realism.  
  It was a dark and stormy night.  Th e villagers oft en talked 
  about the land being cursed, rumors of witches and bargains 
  with the Devil circulated throughout the kingdom of 
  Greyvein.  Of course, scholars and learned men of science 
  knew it was something else… Doctor Kendrick had learned 
  how to pass through the barrier of dreams into a startling 
  new dimension!
  Lovecraft  (hallowed by thy name) was a master of it, too.  
  As was one of his greatest infl uences, Edgar Allen Poe, and 
  one who was greatly infl uenced by him, Th omas Ligott i.  
  Lovecraft  combined folklore and geometry, rational logic and 
  instinctual panic, disbelief in anything supernatural with the 
  realization that human beings cannot fully grasp the natural 
  world.  Th ese seemingly irreconcilable diff erences fascinate 
  us.  Basically, you cross-pollinate the darkly fantastic with 
  the mundane (yet creepy) until you have something that 
  doesn’t look like fantasy or realism.  Having qualities of both, 
  
   69 
  
   70 
  Random Tables and 
  Random Tables and 
  Miscellaneous
  Miscellaneous
  WHO CAN I BLAME FOR ALL THIS?
  WHO CAN I BLAME FOR ALL THIS?
  Sometimes, you need a scapegoat.  Th is table will tell you 
  who’s to blame for what’s been happening lately.
  WHOM TO BLAME
  WHOM TO BLAME
  1
  Th e Scarlet Keepers of Doom
  2
  Race Murdoch from the Robot Development 
  Cartel
  3
  Th e Baleful Sorcerers of Tsathag’kha
  4
  An ultra-violent faction of the K’tulu cult
  5
  Outer guardians of Yogsoggoth
  6
  Demon worshiping dark elves from the Purple 
  Islands
  7
  Adolescent twins born to the Witch-Queen
  8
  Th e crimson, three-headed dragon that sleeps 
  beneath the world
  9
  A stark raving mad Priest of R’lyeh named 
  Illtaire
  10
  Th e emerald-eyed android of Sarnoth
  11
  Th e thing that lurks beyond the threshold of 
  dreams
  12
  Envoys from the lower planes, wearing 
  noxious, blood-spatt ered death shrouds
  Everyone has a Past
  Everyone has a Past
  You may have generated a few numbers and slapped a race, 
  class, and alignment on top… and possibly even a name, 
  but that doesn’t mean he (or she) is a full-fl edged character.  
  Player characters comes from somewhere.  Adventurers 
  might be born diff erent but it usually takes a signifi cant event 
  to ignite the fi res of change, forming a catalyst for delving 
  into dungeons, exploring the remote corners of the planet, 
  and facing wizards, demons, and dragons.  
  Th ese are unusual life events from a character’s past, before 
  today… before they became adventurers!
  Common 
  Common 
  Misconceptions
  Misconceptions
  Every so oft en, highlight what people are thinking, what they 
  believe… the order of the day.  Especially when it comes out 
  wrong!  Conventional wisdom is usually relegated to the 
  background, such things as the sun rising and sett ing every 
  day, that wizards use spell books, and dragons horde gold.  
  Th at’s because a lot we take for granted.  If it’s not pointed 
  out, then we assume it works like the real world.  
  But what if some things weren’t the way the common folk 
  imagine.  Maybe there’s no sun at all; instead, an enormous 
  magical sphere is trapping star light, comets, and astral 
  phenomena in order to light and heat the planet.  Not 
  everything can be weird or off -kilter; however, it’s fun to play 
  with conventions every so oft en.
  Rather that coming right out and saying that wizards don’t 
  carry around spell books like the players or their characters 
  assume, show the misconception by narrating events.  For 
  instance, “A sorcerer walks out of the local tavern, carrying 
  a trapezoidal tablet, its surface shiny and black.  He runs 
  his fi ngers over it, as if looking for something.  As he passes, 
  you can hear him mutt er ‘Now, where is that spell,” under 
  his breath.  Th at’s going to do more for your campaign than 
  telling everyone, “Wizards use tablets rather than spell books 
  in this realm.”
  
   71 
  10
  As a reward for assisting the slayer of 
  Zirnakaynen, snow elves of the north celebrate 
  your birthday with a glutt onous feast.  Also, 
  there’s a delectable cranberry sauce named 
  aft er you.  [advantage on diplomacy and 
  seduction skill checks with snow elves]
  11
  Your father was a member of Project Alpha 
  Omega.  As a result, you were branded a traitor 
  by the Servants of Flame.  [2 in 6 chance 
  of immediately knowing when someone is 
  lying]
  12
  You helped construct the black pyramid.  
  Everyone involved with the inner sanctum’s 
  construction was murdered in the night to 
  keep the pyramid’s secret.  Everyone, that 
  is, but you.  [acute hearing; advantage on 
  listening checks]
  13
  Your mother knew the location of Star One.  
  Because of this, you were conscripted into a 
  devil-worshiping death squad of cybernetic-
  enhanced reptoids.  [you have advantage on 
  any att ack following a round of uninterrupted 
  concentration]
  14
  Due to your extraordinary bloodline, the 
  vampire prince Chakhan massacred your 
  entire family, though you were protected by 
  an infernal pact with a demon lord.  [+2 to hit 
  and damage vs. vampires]
  15
  You were hired by a band of vicious pirates to 
  help plunder the black coast.  All the pirates 
  were eventually caught and hanged, however, 
  you managed to disappear into the forbidden 
  zone.  [you have advantage on disguise and 
  hiding skill checks]
  16
  You were forced to compete in the Blades of 
  Th race.  Th ough you didn’t win, neither were 
  you hacked into bloody pieces.  [+1 to hit and 
  damage when wielding a sword]
  17
  Your people came from a great city lost to the 
  ocean aeons ago.  Th e sunken remnants of that 
  city still call to you.  [Once per day, there’s a 
  5% chance that Dread K’tulu will intervene 
  on your behalf]
  18
  You were raised by snake-men living deep 
  within the northern mountains.  Th ey were 
  constantly at war with dwarves who believed 
  the mountains belonged to them.  [+2 to hit 
  and damage dwarves]
  PAST EVENTS
  PAST EVENTS
  1
  You were subjected to a level 4 mindscan 
  in the psions’ under-city.  [+2 save vs mind-
  altering eff ects]
  2
  Sentenced to serve 7 years in the prison 
  without walls, you were released aft er only 3 
  on a technicality – the sorceress you fornicated 
  with turned out to be from another planet.  
  [Advantage on seduction skill checks]
  3
  During the Challenge of Fire and Ice, you 
  managed to strange an uncircumcised Slorr 
  with the help of an elf named Kaelix.  [+1 to 
  strength]
  4
  You were lashed to within an inch of your life 
  upon the altar of Ashcrom for a crime you 
  didn’t commit.  Even the scars upon your 
  body have scars.  [-1 to constitution, but 2pts 
  of damage resistance]
  5
  Out of your mind on uncut nyborg, you and 
  your brother watched att ack ships on fi re off  
  Orion’s shoulder.  Aft er disembarking from 
  that voyage, your brother was charged by a 
  rampaging unicorn and killed.  It should have 
  been you but he dived in the way.  [once per 
  session, re-roll a natural 1]
  6
  For your heresy, you were exiled to the 
  dreamworld of Zan.  Th ere, a grotesque idol 
  fell into your possession.  Dark forces have 
  pursued you ever since.  [once per day, you 
  have the ability to enter or leave Zan]
  7
  Because of your betrayal, the synthoids of 
  Xard demolished your coastal homeland.  
  Stranded in the ocean, you made a vile pact 
  with some aquatic demon that now possesses 
  your soul.  [ability to breathe underwater]
  8
  In exchange for murdering a wizard’s rival, 
  you were allowed to gaze upon the fl oating 
  skull with psychedelic eyes.  [+1 to wisdom]
  9
  As punishment for disobeying your former 
  master, you were chained to a sacrifi cial rock 
  on the sore of the purple islands.  [you have 
  advantage on skill checks related to escape 
  artistry]
  
   72 
  32
  For your delusions of grandeur, you were 
  thrown into a pit as sacrifi ce to the pungent 
  Squaal of Azurkithe.  Lucky for you, it had 
  just eaten an hour before and slumbered while 
  you made your escape.  [once per session, take 
  a natural 20]
  33
  You nearly died in a violet wyrm’s petrifi ed 
  corpse fi ghting the Ara-Keen, saved only by a 
  dark elf that carried your unconscious body 
  to safety and nursed you back to health.  [you 
  are Kytanu’s indentured servant, according to 
  dark elf law]
  34
  You faithfully served the Seventh Emperor, 
  journeying back and forth from the ice 
  caverns far below the surface.  [half-damage 
  from cold]
  35
  You were sold into slavery, bought by a sorcerer 
  of yellow jade who nearly sacrifi ced you to his 
  loathsome deity before he was killed by a rival 
  wizard.  [either able to cast spells at one level 
  higher than normal or +2 save vs. magic]
  36
  You interrupted a wizard’s duel taking place on 
  the rim of an active volcano.  Your disturbance 
  caused both spell-casters to lose their footing 
  and fall into molten lava.  [start the game one 
  level higher than your companions]
  37
  You were routinely hunted for sport on the 
  Glib Plateau across the purple mists of Satara. 
  [advantage on hide and move silently skill 
  checks]
  38
  On a dare, you ventured into the lair of a spider 
  demon, fi nding a silver ring just inside the 
  entrance.  You put it on.  You fought tooth and 
  nail to stay alive while somehow managing 
  not to get stuck in the creature’s web.  [you 
  wear a magic ring of free action]
  39
  Th e wise woman of your village prophesied 
  that you would one day kill a ruthless tyrant.  
  [+2 to att ack and damage vs. the most powerful 
  evil humanoid in a group]
  40
  You apprenticed under Elzek the vile, an 
  artifi cer who craft ed dark objects in exchange 
  for chests full of gold and gemstones.  [able to 
  craft  a magic item in half the usual time and at 
  half the usual cost]
  19
  A 
  dimensional 
  anomaly 
  created 
  theta 
  vibrations resulting in a sub-humanoid 
  meltdown.  Most of your friends and family 
  went berserk before liquefying into soft  lumps 
  of multi-colored plastic.  [+2 save vs. magic]
  20
  You failed to summon one of Yogsoggoth’s 
  spawn in the cyclopean hole left  by the meteor.  
  Aft er that humiliating failure, you studied 
  every volume of ancient lore you could get 
  your hands on.  [+1 to intelligence]
  21
  You barely survived the tentacle pits of Denval 
  Urden.  [+1 to dexterity]
  22
  You are the ninth person to ever perform the 
  Rites of Savaahesh in front of the trapezoidal 
  gate of emerald fl ame.  [you only take half 
  damage from fi re]
  23
  You 
  succeeded 
  at 
  communing 
  with 
  Yogsoggoth in the chasm of nigrescent milk.  
  [+1 to wisdom]
  24
  For an entire month, you att ended a foul 
  and perverted priest of the Dark Gods as he 
  commanded a shambling army of unspeakable 
  horrors.  [you are invisible to the undead]
  25
  You were forced to join the metal militia in the 
  Delos Quadrant.  [advantage on intimidation 
  skill checks]
  26
  You were charged with heresy and exiled to 
  the Mountain of Outer Chaos.  [once per day, 
  you are able to cause temporary madness in 
  a humanoid aft er staring into his eyes for an 
  entire round]
  27
  Was about to be eaten by a slavering 
  theskasaurus but saved at the last moment 
  when the ground erupted with tentacle, man-
  eating burrowers.  [once per session, you get a 
  +1 bonus to any roll]
  28
  When only a child, your people were wiped 
  out by the Junn horde.  [+1 to charisma]
  29
  You impregnated the jeweled vessel of Yar 
  within a temple of the night-serpent.  [Th at 
  evening, you stole a magical dagger from the 
  temple]
  30
  You were about to be shackled before the 
  bilious pit of nurrgle-slime but escaped into 
  the jungle during a ground tremor.  [+1 to 
  dexterity]
  31
  You ate the tongue of a baleful sorcerer of 
  Tsathag’kha for his insolence.  [advantage on 
  intimidation skill checks]
  
   73 
  51
  On his deathbed, a cleric devoted to the Dark 
  Gods gave away all his worldly possessions.  
  By the time you arrived, all that was left  was 
  an ink-stained, multi-page lett er the cleric 
  had received years ago.  Th e lett er was from 
  a Master of the Fourth Way, detailing the 
  arduous struggles involved in achieving higher 
  consciousness.  [to the right buyer (perhaps a 
  monk or NPC interested in esotericism) this 
  brief manuscript would be worth something 
  in the neighborhood of 500 gold pieces]
  52
  Assigned to a wanderer class freighter, you 
  traveled the galaxy in search of valuable 
  mineral deposits.  Att acked and boarded by 
  an enemy ship, you were stranded on this 
  particular world.  [advantage on skill checks 
  involving high-tech]
  53
  You were born into a parallel world where 
  apes evolved into the dominant intelligent 
  life form instead of humans.  Caged like an 
  animal, you escaped – running into a swirling 
  portal of silvery aqua energy which teleported 
  you here.  [+2 to dexterity, -1 to intelligence]
  54
  During a routine salvage run, you discovered 
  a mechanical badger.  It befriended you.  [you 
  travel with a mechanical badger artifi cial 
  animal companion]
  55
  You are from either the far future or distant 
  past where reptiles are everywhere and snake-
  men rule the planet.  About to be sacrifi ced, a 
  magical side-eff ect opened a gateway to this 
  world.  You escaped through the gate before it 
  closed.  [+1 to hit and damage reptiles]
  56
  While testing an experimental weapon, you 
  were doused with a high level of gamma 
  radiation.  [+2 to strength and -1 to wisdom]
  57
  You stowed away on a pirate ship hoping to 
  seek your fortune.  Upon discovery, Captain 
  Nero took you under his wing instead of 
  slitt ing your throat.  He showed you a bit of the 
  seafaring life before his ship was destroyed by 
  a royal navy vessel.  [advantage on skill checks 
  involving swimming, sailing, and navigation]
  58
  You assisted the high priest of a K’tulu 
  worshiping cult before he was devoured 
  by a nightmarish entity from outside this 
  universe.  [advantage on skill checks involving 
  persuasion]
  41
  You wandered the desert of nameless sand for 
  several days and nights before a pale-white 
  sorceress with raven hair and emerald eyes 
  took you in and made you her plaything.  You 
  narrowly escaped while she was preoccupied 
  with a gigantic sand squid. [+2 save vs. mind-
  altering eff ects]
  42
  Forced to spill innocent blood in the 
  gladiatorial arenas of Vega, you somehow 
  managed to survive without being particularly 
  adept at fi ghting.  [+1 dexterity]
  43
  You fought in a slave revolt at the spice mines 
  belonging to Vekker, the butcher of Zaelius 3.  
  [you score a critical hit on rolls of natural 19 
  and 20 when using a melee weapon]
  44
  You and your companions chased down a 
  demon in the forbidden zone.  Th at soulless 
  creature slaughtered everyone but you.  [+1 to 
  hit and damage demons and devils]
  45
  You learned the dark ways of your master on 
  Silk Road… where depravity has no limits.  
  [advantage on persuasion and gathering 
  information skill checks using torture]
  46
  While serving a powerful noble, you carried 
  his accursed magic item for months – its 
  corrupt energy constantly fl owing through 
  your body.  [you are sensitive to both magic 
  and evil and instinctively know when either 
  is near]
  47
  You helped repel Zanthos’ android army at 
  the Citadel of Long Shadows.  [+2 to hit and 
  damage vs. robots] 
  48
  Just now, the wizard Kaal hands you a 
  crystal shard, glowing purple from within. 
  Whispering “lost Carcosa,” the shard warms 
  your hand like the promise of sin.  [once per 
  day, that crystal allows you to see into the 
  mind of an evil humanoid or creature]
  49
  Your father wrested the largest ruby he’d ever 
  seen from the eye-socket of a gigantic demon 
  idol.  Until the end of his days, the man 
  was plagued with misfortune.  Cursed, the 
  townsfolk said.  [you have a 2 in 6 chance of 
  sensing danger seconds before it happens]
  50
  Before adventuring, you were an artist’s 
  model.  Delucci captured your likeness in a 
  variety of sculptures.  [either advantage on 
  skill checks related to keeping still or +1 to 
  charisma]
  
   74 
  67
  You were a prisoner of an ice demon until 
  a barbarian wielding a sword whose blade 
  burned like the sun vanquished him, freeing 
  you of the demon’s icy bondage.  [resistance 
  to cold, frost, and ice]
  68
  You were nearly a wizard’s blood sacrifi ce 
  when the ground opened up like a gigantic, 
  worm infested maw and swallowed him 
  whole.  [once per session, you may re-roll a 
  natural 1]
  69
  Your native land became a batt leground 
  between two warring wizards.  Th e epic 
  confl ict between the wizards was fought by 
  countless human slaves.  [+2 bonus to armor 
  class vs. humans]
  70
  As a thunderstorm devastated the plateau 
  of Leng, you watched as lighting struck the 
  huge purple crystal that always hung in the 
  air, just above the highest point of Leng.  Th at 
  crystal was rumored to keep balance between 
  the forces of light and darkness.  Upon being 
  hit by lightning, a shard broke off  which you 
  somehow retrieved in the storm.  [+1 bonus to 
  all saving throws]
  71
  Awhile back, your hand turned evil, forcing 
  you to cut if off  with a chainsaw.  Fortunately, 
  you were able to att ach that chainsaw onto the 
  stump where your hand used to be.  [chainsaw 
  hand: full round just to get it running and it 
  might need gasoline aft er several uses, but it 
  does 2d6 damage]
  72
  During a raid, you were cut down by the Lich 
  King.  As a result, the slash across your chest is 
  subtly glows with a bluish-grey illumination.  
  Perhaps you are marked for something…  
  [undead will avoid you, never att acking or 
  barring your way]
  73
  You started hunting chicken of the cave (bats) 
  for food.  Your brother saw a way to make 
  some coin and opened up a tavern specializing 
  in fi ne ale and chicken of the cave, fried and 
  served with a spicy dipping sauce.  [either a +1 
  to hit and damage winged creatures or start 
  with 250 additional gold pieces]
  59
  You fought a dragon and lived to tell about it. 
  [+2 to hit and damage dragons]
  60
  You were mercilessly whipped for hours 
  upon the altar of Moschrov; some shambling 
  horror from the nearby graveyard att acked 
  the executioners before you broke.  [extra 2d4 
  bonus hit points]
  61
  You left  the domed city of your own accord, 
  stifl ed by their antiquated ways and tired of the 
  over-protective, 72 degrees artifi cial habitat 
  you’ve always known.  [you know how to read, 
  write, and operate simply machinery]
  62
  Apprenticed to a wizard constantly hunted 
  for his crimes against nature, you moved 
  from the place to place… frequently at night.  
  [advantage on sneaking and hiding skill 
  checks]
  63
  You arrived extremely late to the Lich’s tomb 
  aft er he’d been slain.  Almost everything 
  had already been looted.  However, behind 
  a crumbling pillar you found a mauve-
  colored mask.  Th ough rather bland and 
  expressionless, it was bett er than nothing 
  at all.  [when the mask is worn you receive a 
  bonus saving throw vs. death upon reaching 
  negative hit points, success means you’re alive 
  but unconscious]
  64
  Even though you were conceived by a man 
  and woman, as a fetus you grew and were 
  eventually born from a yak’s womb.  You 
  assume sorcery was involved but no one has 
  been able to furnish details.  [advantage on 
  skill checks involving animals]
  65
  You sought one of the Death Masters for 
  some secret purpose.  When you fi nally found 
  him, he looked at you, screamed horribly as 
  if witnessing something unfathomably awful, 
  and melted into a puddle of disgusting green 
  goo.  [immediately aft er a weird event, you get 
  advantage on your next d20 roll]
  66
  You defi led a temple of Set by stealing the 
  Serpent’s Eye.  Unfortunately, your old 
  partner stole the jewel away from you shortly 
  thereaft er.  Th en you stole it back again, but 
  soon lost it to yet another thief.  [advantage on 
  skill checks involving thievery]
  
   75 
  82
  You convinced an interstellar gangster to 
  loan you the money for a starship.  Your ship 
  is small, older, and needs work… but it’s still 
  a goddamn starship!  [unfortunately, you 
  owe gangster 10,000 credits – equivalent to 
  10,000 gold pieces]
  83
  Th e seven Lords of Creation watch over 
  this world and its people, incrementally 
  infl uencing events in their favor.  Not many 
  are aware of this fact but you are.  [Once per 
  day, you have a 33% chance of recognizing 
  that some person, place, or thing is actually 
  an illustion]
  84
  You were born with an odd, triangular 
  birthmark.  [once per session, a humanoid 
  will either be convinced of your greatness 
  or (33% chance) perceive you as a convicted 
  criminal]
  85
  Your people murdered every man, woman, 
  and child living within the tents of Goth as 
  retribution for insulting Hyrkuulath the God of 
  pride, ambition, and retaliation.  [Hyrkuulath 
  gift ed you with a +1 to charisma]
  86
  Th e fi rst man you ever killed was at the foot 
  of a mountain carved into the likeness of the 
  demon prince Malik.  [each time you end 
  a creature’s life, you receive a +1 to hit and 
  damage for one minute]
  87
  You’re originally from a planet with three blue 
  suns.  [+1 to intelligence]
  88
  Nothing.  Everything before today is a total 
  blank.  You woke up this morning with no 
  memory.  [once per session, you can decide 
  that something encountered is familiar and 
  describe your connection to it]
  89
  You were baptized in the oasis of Zarth by a 
  man claiming to be a messenger from god.  [1% 
  chance per day (cumulative and resett ing aft er 
  each success) of petitioning an appropriate 
  deity with prayer and having it answered]
  90
  Born of a fi re wizard and ice sorceress whose 
  magic canceled each other out, you are 
  particularly resistant to spell-casting.  [20% 
  magic resistance]
  74
  As a youth, you were kidnapped and tortured 
  by a psychopathic clown.  Freedom only 
  came when your tormentor developed an 
  allergic reaction to the face paint, slicing off  
  his own face with a straight-razor.  [during an 
  interaction, you are able to cause fear in an 
  individual 33% of the time]
  75
  Your entire village, crouching at the base 
  of a volcano, was about to be engulfed in an 
  endless stream of molten lava when gnome 
  wearing a strange hat blasted you with his 
  wand.  Next thing you know, you woke up 
  in some forest over a hundred miles away.  
  [you have a guardian gnome whom you may 
  communicate with telepathically once per 
  session]
  76
  Your fi rst adventuring party was devoured by 
  giant frogs.  You hid under a lily-pad until the 
  crunching and slurping was over.  [advantage 
  on hide and sneak skill checks]
  77
  You recently learned that your estranged 
  father is a Death Master ruling over the eastern 
  quadrant of the forbidden zone.  [Th ere’s a 
  33% chance you will be regarded as nobility 
  to those privy to your background]
  78
  Years ago, you visited an under-city of 
  synthoids.  Th e synthoids taught you a few 
  of their secrets.  [you have advantage on skill 
  checks involving high-technology]
  79
  You fell off  the black pyramid while defending 
  it from doom-hawks, breaking your back.  
  Fortunately, a benevolent cleric laid his hands 
  upon you, fusing your backbone together 
  so that it was stronger than ever.  [+1 to 
  strength]
  80
  Your legs were blown off  in the war of 
  Atraedes.  A friend of the family paid for you 
  to receive a mechanized lower half.  Instead of 
  walking, you roll around on tank treads.  [-1 
  to dexterity but you get 2 points of damage 
  resistance]
  81
  Your uncle was a wartime profi teer in the 
  clone revolution.  With the money he made 
  and the available technology, you have a 
  clone “brother” waiting in the wings.  He will 
  activate upon your demise.  [basically, you get 
  a second chance at life]
  
   76 
  92
  You were sent from the future to warn 
  humanity of an impending doom. Th e 
  apocalypse isn’t far behind. Th ere’s no fate but 
  what we make.  
  91
  Th ough you valiantly fought against the 
  mighty fl ail snail of Kith, your entire party 
  was slaughtered, except for you.  Luckily, 
  you were carried off  by a winged monkey’s 
  tentacle.  [you have a tentacle fl ying monkey 
  as familiar or animal companion]
  
   77 
  • 
  Advantage could grant a +4 on your d20 roll, re-roll a 
  natural 1 (only the fi rst time).
  • 
  If you have advantage on a particular skill check, 
  assume you’re also profi cient in that skill.
  Character Questions
  Character Questions
  During character creation, backgrounds are nice.  Everyone 
  has some kind of story.  Th ese questions are here to help 
  players round out their character’s story, giving them a litt le 
  more to go.  Most of these can be answered quickly but each 
  of them begs for a more detailed answer.  
  I’ve played in campaigns where I was handed a seven 
  page packet full of essay questions to fi ll out by the next 
  session, campaigns where you rolled your stats, got some 
  starting equipment and just started exploring a dungeon, 
  and everything in between.  A litt le goes a long way, in my 
  opinion.  While tabletop roleplaying is more than showing off  
  slick maneuvers and telling authority fi gures to shove it, we 
  don’t want this to be a study in novel writing or storytelling 
  workshop.  Look under the hood enough to see what’s going 
  on and then get on with the game.  Basically, whatever you 
  can get done in an hour, do that.  If you’ve already used that 
  initial hour of character creation up, then quickly roll or 
  suggest things for players to ponder between sessions.
  I recommend rolling three times per character.  Th at’ll get 
  things going without going overboard.  Also, encourage 
  players to consider who their character is without pushing 
  them to dig deeper than they’re comfortable with.  Don’t 
  make it a chore.  Th is is supposed to be fun, aft er all.  
  1D100 
  TABLE 
  OF 
  QUESTIONS 
  FOR 
  1D100 
  TABLE 
  OF 
  QUESTIONS 
  FOR 
  CHARACTERS
  CHARACTERS
  1
  Who was your mentor growing up?
  2
  Why did you choose your current profession?
  3
  Do you ever think of choosing a diff erent 
  career path?
  4
  Have you ever met a truly accomplished 
  wizard?
  5
  Do you have any brothers or sisters?
  6
  Are your parents still alive?
  7
  Have you ever been robbed?
  8
  Have you ever stolen something of great 
  value?
  9
  Have you ever killed a man?
  10
  Do you enjoy the sights and sounds of batt le?
  93
  You were nailed to a cross by the cyber-
  theocracy, left  to die.  However, your inner 
  resolve kept you going until a band of 
  adventurers saved you.  [once per session, you 
  may add 1d6 to any roll]
  94
  You were recruited by a shadow government 
  of wizards with an eye for world domination.  
  [once per day, spell casters within 10’ of you 
  (not including yourself) may increase a single 
  aspect of their spell (damage, duration, range, 
  etc.) by 33%]
  95
  Th ere’s a prophecy about a monstrous, alien, 
  godlike entity breaking through the barrier 
  into this universe and drinking the souls of all 
  non-believers.  Th is prophecy also mentions 
  several individuals by name; yours is one of 
  them.  [your sense of purpose allows you a 
  (bonus) saving throw if you die]
  96
  You traveled to the lost temple of Tjocanth.  It 
  was fi lled with grotesque statues, immoral bas 
  reliefs, leering demonic faces, and degenerate 
  bone-white priests who cut out their own 
  tongues in order to be closer to some silent and 
  bloodthirsty divinity.  [you have advantage 
  on skill checks dealing with evil or insane 
  humanoids]
  97
  You are a dark, possibly evil version of your 
  race or sub-race.  Aside from looking exotic, 
  most humanoids will stay out of your way 
  due to fear and superstition.  [advantage on 
  intimidation skill checks]
  98
  You were approached by a gnome with 
  lavender, maroon, and pastel green striped 
  hat (almost as big as him), polka-dot clothes, 
  and jeweled slippers.  Th is gnome was looking 
  for investors in some new project he’s working 
  on.  As a free gift  for listening to his pitch, you 
  received a transparent cube about the size of 
  his litt le gnome fi st.  [once per day]
  99
  You were raised in the gladiatorial pits of 
  Choam where you learned how to kill with 
  effi  cient brutality.  [you crit on a natural 19 
  and 20]
  100
  Roll twice!
  • 
  Having resistance to something equals half damage; 
  vulnerability equals double.
  
   78 
  45
  Are you more obsessively clean, a total slob, 
  or somewhere in between?
  46
  Have you ever repented, atoned, or confessed 
  your sins to another?
  47
  Do you have any political affi  liations?
  48
  Do you have an appreciation for the arts?
  49
  What’s your pet peeve?
  50
  Are you optimistic, pessimistic, or somewhere 
  in between?
  51
  When was the last time you got blind drunk?
  52
  If you were an animal, what kind of animal 
  would you be?
  53
  Do you gamble?
  54
  Who is your mentor now?
  55
  What’s something you want to learn in the 
  near future?
  56
  What’s the most valuable lesson you’ve 
  learned so far?
  57
  Is there a history of mental illness in your 
  family?
  58
  Have you ever met a saint, holy man, or 
  witch?
  59
  Have you ever seen a demon in the fl esh?
  60
  Is there anything you’ve been taught about 
  the world that you don’t believe?
  61
  Were you rebellious growing up?
  62
  Are you set in your ways?
  63
  Did your family or town have a strange 
  tradition or celebrate an off -beat holiday?
  64
  Have you ever visited a fortune teller, oracle, 
  or mystic?
  65
  Have you ever referred to sorcery as “the black 
  arts”?
  66
  What do you daydream about?
  67
  How do you cope with stressful situations?
  68
  Is there anything you actively try to avoid?
  69
  Do 
  you 
  consider 
  yourself 
  heroic 
  or 
  villainous?
  70
  Do you have an annoying habit?
  71
  Have you ever partaken of a mind-altering 
  substance?
  72
  Do you have a hobby?
  73
  Have you ever been kicked out of a tavern?
  74
  Have you ever fought in the arena or competed 
  in a wizard’s duel?
  75
  Have you ever danced with the Devil by the 
  pale moonlight?
  11
  Besides adventuring, what would you be 
  doing with your life?
  12
  Have you ever been in love?
  13
  Do you have a signifi cant other?
  14
  What’s your favorite food?
  15
  What’s your favorite drink?
  16
  What’s your favorite color?
  17
  What are you afraid of?
  18
  Do you believe in luck?
  19
  Can you cook?
  20
  Who was your favorite person in your 
  hometown (not related to you)?
  21
  When was the fi rst time you held a sword?
  22
  Have you ever used a wand?
  23
  Have you ever fallen into a pit trap?
  24
  What’s the toughest monster you’ve ever 
  faced?
  25
  Which of the seven deadly sins best describes 
  you (sloth, wrath, lust, glutt ony, pride, envy, 
  and greed)?
  26
  How would others describe you?
  27
  What’s your three year plan?
  28
  Where are you from?
  29
  Do you have any children?
  30
  Have you ever visited a brothel, bordello, or 
  red-light district?
  31
  Have you ever questioned the gods?
  32
  Do you believe that you have a special plan for 
  this world?
  33
  What is your type, regarding physical 
  att raction?
  34
  Do you have a recurring dream or 
  nightmare?
  35
  Ever broken any bones?
  36
  Would you let one of your friends die in order 
  to kill three enemies?
  37
  Do you have a treasured item of litt le objective 
  value?
  38
  What’s the last book you’ve read?
  39
  How do you really feel about dwarves?
  40
  How do you really feel about elves?
  41
  Do you trust easily?
  42
  When do you give your loyalty?
  43
  Have you ever broken an oath?
  44
  Do you have a sense of humor?
  
   79 
  20 REASONS THE CHARACTERS ARE 
  20 REASONS THE CHARACTERS ARE 
  TOGETHER
  TOGETHER
  1
  Lifelong friends
  2
  Romantically involved or would like to be 
  (could be in love with the other’s sister)
  3
  Related – blood is thicker than water
  4
  Enjoy similar hobbies, interests, and/or 
  passions
  5
  Started looking out for each other back when 
  they had nothing and no one
  6
  Bonded over a long military campaign
  7
  Hired by the same individual to do a job or 
  series of jobs
  8
  Frequent the same tavern
  9
  Apprenticed under the same master
  10
  Are bound by similar oaths
  11
  Have the same goal(s)
  12
  Th ings got real bad; stuck with the only 
  survivor(s)
  13
  Charmed or otherwise magically linked
  14
  Reminds him of someone he used to know 
  very well or love
  15
  Each sees the other as a chance for gaining 
  power
  16
  Shared the same prison cell
  17
  Met in an insane asylum
  18
  Share the rights to an object, piece of land, 
  abode, etc.
  19
  One is mentoring the other for mutual 
  benefi t
  20
  Roll twice!
  76
  What is the meaning of life?
  77
  Would you stop a fellow party member from 
  shedding innocent blood?
  78
  Have you ever had to fi re a henchman or 
  hireling?
  79
  Which is more important to you:  reliability 
  or loyalty?
  80
  What would you do (if anything) to a noble or 
  aristocrat who disrespected you?
  81
  Can you play a musical instrument?
  82
  How do you feel about manual labor?
  83
  What’s your favorite pithy saying or turn of 
  phrase?
  84
  Do you have a favorite book?
  85
  Are you superstitious?
  86
  What’s your preferred climate?
  87
  Do you prefer traveling around the world or 
  staying in one realm, territory, or kingdom?
  88
  Have you ever used a pseudonym? 
  89
  Is there a special word you use more oft en 
  than you probably should?
  90
  Have you ever wielded a magic sword?
  91
  How well acquainted are you with advanced 
  technology?
  92
  Who taught you how to wield a blade?
  93
  What’s your favorite fl avor of pie?
  94
  Where’s a region or realm you’ve always 
  wanted to visit?
  95
  If you weren’t a ________, what profession/
  vocation would you have chosen?
  96
  Name your most impressive or fondly 
  remembered sexual conquest.
  97
  What’s more important to you than gold?
  98
  Do you have a life philosophy?
  99
  What’s your father’s name?
  100
  What do you think the average life expectancy 
  of an adventurer is?
  
   80 
  15
  Cause 
  trouble 
  and 
  strife; 
  sociopathic 
  instigator.
  16
  Locate a spaceship that crashed not too long 
  ago.
  17
  Find the perfect emerald to impress the 
  duchess of Steel Haven.
  18
  Humiliate a local bard who sings lewd songs 
  about his wife.
  19
  Always wanted to see another planet, 
  dimension, or plane
  20
  Natural born problem solver – will try to fi x 
  every problem that comes up.
  21
  Loves to argue, always in the mood for a juicy 
  argument.
  22
  Wants to disprove the theory of… 1) evolution, 
  2) gravity, 3) objectivism, 4) science!
  23
  To fi nd the perfect horse, just like the one he 
  used to have years ago.
  24
  Locate an especially rare spell component.
  25
  To collect seven hairs from a devil’s beard.
  26
  Find a trade that’s more exciting than 
  chartered accountancy.  
  27
  Discover what happened to his cousin who 
  explored the dungeon beneath Blacklore 
  castle a year ago and never returned.
  28
  Lose those last stubborn ten lbs.  
  29
  Th ink up a really good joke or riddle.
  30
  Summon a demon; maybe even make a pact 
  with him.
  31
  Outlive everyone in the tontine (google it) to 
  collect 100,000 gold pieces.
  32
  Learn to write as well as Cardyn the wily 
  wordsmith.
  33
  Train for a drinking competition which he 
  intends to enter and win in a month’s time.
  34
  Either prove or disprove the existence of 
  ghosts.
  35
  Convince as many people as possible that 
  there should be eight days in a week.
  36
  Prove to his father that he can make his way 
  in the world.
  37
  Give his worldly possessions away to someone 
  worthy before he dies (2d4 days left  to live).
  38
  Find a suitable mate.
  39
  Cleanse his guilty conscience.
  40
  Commission an artist to paint his portrait.
  Secondary and 
  Secondary and 
  Tertiary Motivations, 
  Tertiary Motivations, 
  Desires, and Goals
  Desires, and Goals
  Every NPC worth scribbling down on the margins of graph 
  paper should have a primary motivation, desire, or goal.  
  What makes them tick, what drives them to act the way they 
  do?  Th ere’s a handy table to character motivations within 
  Liberation of the Demon Slayer.  
  Th e following are secondary motives that will add another 
  dimension to your NPCs.  Or, feel free to have players roll if 
  they prefer that to making up one of their own.  Note that just 
  because these motivations, desires, and goals are secondary, 
  that doesn’t mean they aren’t of primary importance right 
  now, just that overall, infl uence might be that characters’s 
  driving force.  Want a tertiary motivation, desire, or goal?  
  Roll again!
  SUBSIDIARY MOTIVATIONS
  SUBSIDIARY MOTIVATIONS
  1
  Restore glory to the Ving Ho dynasty (or the 
  Kezakahn empire).
  2
  Execute as many treacherous Zorkaan dogs as 
  possible.
  3
  Master the art of lucid dreaming
  4
  Find a crimson cloak or wizard’s robes to 
  match his family crest.
  5
  To discover what lies beyond the overgrown 
  ruins.
  6
  Protect his dark secret no matt er the cost.
  7
  To pay back the 1,000 gold pieces he owes 
  Maax the wicked high priest.
  8
  Desecrate anything related to the Dark Gods 
  / Great Old Ones / Ancient Ones
  9
  Praise and exalt anything having to do with 
  the Dark Gods / Great Old Ones / Ancient 
  Ones.
  10
  Discover his divine purpose, his special plan 
  for this world.
  11
  Would do just about anything for a delicious, 
  fresh baked pie… 1) apple, 2) blueberry, 3) 
  cherry, 4) pumpkin.
  12
  Collect ladies undergarments.
  13
  Win back his lucky coin from a gambler, the 
  notorious Iago.
  14
  Learn the meaning of a cryptic message or 
  dream.
  
   81 
  68
  Wracking his brain trying to fi gure out what 
  he was supposed to remember.
  69
  Master the art of calligraphy.
  70
  Invent a new kind of cheese.
  71
  Learn how to make something called a “pizza”; 
  tried a couple slices and it changed his life.
  72
  Get the weird purple visions out of his brain.
  73
  Start his own religion; become a charismatic 
  cult leader.
  74
  Looking for the perfect toy for his daughter’s 
  fi ft h birthday.
  75
  Learn to be self-reliant in the wild.
  76
  Survive the rite of wailing witches or the 
  initiation of Aetrades.
  77
  Cure his sister’s vampirism.
  78
  Teach that rat-bastard Fingr Skillguilty a 
  lesson!
  79
  Recover his leather pouch fi lled with iridescent 
  marbles from the King’s assassin.
  80
  Find a way to the seven monoliths of Irra 
  Natal.
  81
  Get drunk!
  82
  Drink milk from the breasts of a Burmese 
  maiden.
  41
  Meet a fi tt ing traveling companion or 
  companions.
  42
  Discover the meaning of life.
  43
  Find honest work.
  44
  Become a legitimate “tough guy” – needs to 
  get into 500 fi ghts.
  45
  Wants to start a club for fi ghting but can’t 
  really talk about it.
  46
  Wants to watch c-beams glitt er in the dark 
  near the Tannhauser Gate.
  47
  Grow the world’s largest potato.
  48
  Become the villain his brother always feared 
  he would turn into.
  49
  Rid the realm of vampires.
  50
  Serial killer who can’t seem to get enough 
  blood on his hands.
  51
  Always wanted to be with two women at 
  once.
  52
  To acquire a highly artistic but also highly 
  illegal set of French lithographs.
  53
  Wants to die without regrets.
  54
  Always thinking about strategic and tactical 
  war games; planning his next move, etc.
  55
  Discipline himself so that his att ention does 
  not wander.  
  56
  Flagellates self on all holy days.
  57
  A sausage connoisseur who wants to taste 
  every kind of sausage in the world.
  58
  Fed one too many people to the alligators, 
  now he’s on the run.
  59
  To rid himself of that accursed ring (without 
  hacking off  his fi nger).
  60
  Desperately wants to learn how to play the 
  mandolin.  
  61
  Wants to become a royal taster for the king 
  some day.
  62
  Learn sorcery, despite being a carpenter his 
  entire life.
  63
  Run away from his nagging wife and whiny, 
  complaining children.
  64
  Wants to fi ght a dragon.
  65
  Looking for a magic sword.
  66
  Always trying to learn peoples’ secrets.
  67
  Was right about something once and now 
  always thinks he’s always right about 
  everything.
  
   82 
  3
  “Th e human phenomenon is but the sum of densely 
  coiled layers of illusion.  Each of which winds itself 
  on the supreme insanity that there are persons of 
  any kind, when all there can be is mindless mirrors 
  laughing and screaming as they parade about in 
  an endless dream.”  -  Th omas Ligott i
  4
  “Desire is when you do what you want; will 
  is when you can do what you do not want.”  -  
  Ouspensky
  5
  “I break away fr om all conventions which do 
  not lead to my earthly success and happiness.”  
  -  Anton Szandor LaVey
  6
  “I can’t explain the unexplainable.”  -  Rani 
  from Land of the Lost
  7
  “Th e word impossible is only found in the 
  dictionary of fools.”  -  Dr. Hans Reinhardt
  8
  “Discipline is the bridge between goals and 
  accomplishment.”  -  Jim Rohn
  9
  “We cannot become what we need to be by 
  remaining what we are.”  -  Max de Pree
  10
  “He who lives in harmony with himself lives in 
  harmony with the universe.”  Marcus Aurelius
  11
  “Always seek out the seed of triumph in every 
  adversity.”  -  Og Mandino
  12
  “Th e truth is not for all men, but only for those 
  who seek it.”  -  Ayn Rand
  13
  “Power is always dangerous.  It att racts the worst and 
  corrupts the best.  I never asked for power.  Power 
  is only given to those who are prepared to lower 
  themselves to pick it up.”  -  Ragnar Lothbrok
  14
  “Beyond a certain point, the whole universe 
  becomes a continuous process of initiation.”  -  
  Robert Anton Wilson
  15
  “Th e only clear view is fr om atop the mountain of 
  your dead selves.”  -  Peter Carroll
  16
  “Th e whole and sole object of all true magical 
  and mystical training is to become fr ee fr om every 
  kind of limitation.”  -  Aleister Crowley
  17
  “A man who is doing his true will has the inertia of 
  the universe to assist him.”  -  Aleister Crowley
  18
  “Initiation cannot be gained through a 
  ceremony: a person initiates himself through his 
  own understanding. However, though we can 
  make modifi cations, we cannot change ourselves 
  without help fr om outside.”  -  Gurdjieff 
  19
  “No good deed goes unpunished.”  -  Kerr Avon
  20
  “I Am that I Am.” Or “I Will Be what I Will Be.” 
  -  Old Testament God
  83
  Create a deadly trap either for general defense 
  and security or targeting a specifi c creature or 
  person.
  84
  Climb the tallest mountain in the land.
  85
  Be sacrifi ced to the dark forces in nature.
  86
  Purchase a house in the nearby village.
  87
  Wants to be left  alone to read his books.
  88
  Reclaim the soul he lost to the demon lord 
  Ixaxaar.
  89
  Loves decapitation; wants to make his magic 
  sword vorpal.
  90
  Putt er around in his garden.
  91
  Usurp the throne!
  92
  Pull the sword from the stone.
  93
  Drink from the fountain of eternal youth.
  94
  Explore the ancient city built by subterranean 
  elves.
  95
  Write a ripping yarn about dragons and 
  wizards with some hot gypsies thrown in for 
  good measure.
  96
  Find his super awesome red bicycle with all 
  the bells and whistles.
  97
  Recover a cursed idol – the bad luck eye of the 
  litt le yellow god!
  98
  Construct a death ray.
  99
  Sail away to some deserted island.
  100
  Become a high-ranking member of either the 
  thieves’ guild or sect of assassins.
  Profound Musings of 
  Profound Musings of 
  an NPC
  an NPC
  Occasionally, an NPC will say something witt y or deep or 
  prophetic.  Here’s a table of random quotes you might give 
  some mouthy NPC in your campaign.  Aft er each quote is its 
  source.
  1
  “Hope is the pillar that holds up the world.  
  Hope is the dream of a waking man.”  -  Pliny 
  the Elder
  2
  “Without self-knowledge, without understanding 
  the work and functions of his machine, man 
  cannot be fr ee, he cannot govern himself and he 
  will always remain a slave.”  -  Gurdjieff 
  
   83 
  7
  Th ey wear specifi c robes, cloaks, sash, scarf, 
  or garment.  Usually, this article of clothing 
  will be a specifi c color or colors and might 
  also contain a cult symbol.
  8
  Th ey have a particular word or phrase which 
  they repeat like a mantra or mnemonic device. 
  It might also be a call and response type thing 
  - one cultist starts it and a second ends it.
  9
  Th ey all have the same ritual implement.  
  It might be a hand-made wand, athane 
  (ceremonial 
  dagger), 
  statuett e, 
  incense 
  burner, chalice, gazing crystal, etc.
  10
  All of them are missing a pinkie, eye, or 
  earlobe; maybe they have a scar on their chin 
  or lash marks upon their back.
  11
  Every member of the cult has the same 
  vibe, look, mannerisms, personality, or 
  essence.  Usually, this will be an indefi nable 
  characteristic that feels strangely similar.
  12
  Roll twice.
  Cult leader
  Cult leader
  All a cult leader really needs is three things… 1) the self-
  confi dence to call himself a cult leader, 2) some kind 
  of motivation or goal besides cult leadership, and 3) to 
  demonstrate some kind of value.  Th is last one “proves” that 
  he’s special in some way, deserving of the offi  ce.  If this cult is 
  religious in nature, he’ll usually be referred to as High Priest.  
  If it isn’t, then maybe the other cultists call him “sir” or “the 
  chosen one”… perhaps he won’t have an offi  cial title at all.
  Th e following table will tell you what kind of value this 
  cult leader has demonstrated in the past and (for his sake) 
  currently demonstrates.  Decide ahead of time what kind of 
  cult this is.  If his followers are less than three, then there 
  really is no cult – just some crazy dudes gett ing together.  If 
  his followers number between three and ten, roll on the table 
  once.  If his followers number between 11 and 32 roll twice.  
  If his followers number 33 or more, then roll thrice.  If the 
  cult has over a thousand members, roll four times!  If you get 
  the same result twice, re-roll until you get something new.
  Cults
  Cults
  Guess what?  You probably need some kind of cult activity in 
  your campaign!  Want the PCs to stumble upon something 
  they shouldn’t have seen?  Th e following fi ve tables will give 
  you the big picture. 
  WHO ARE THE CULTISTS?
  WHO ARE THE CULTISTS?
  1
  Triad of the Violet Flame
  2
  Servants of the Forbidden Truth
  3
  Celebrants of the Emerald Visioin
  4
  Initiates of the Ninth Angle
  5
  Worshipers of K’tulu
  6
  Order of Nothingness
  7
  Disciples of the Devourer
  8
  Messengers of Creeping Death
  9
  Sect of the Unspeakable One
  10
  Servants of Yogsoggoth
  11
  Keepers of the Unholy Word
  12
  Blood of the Dark One
  13
  Cult of the Nameless Horror
  14
  Practicioners of the Black Path
  15
  Seekers of Ineff able Lore
  16
  Initiates of the One True Way
  17
  Crimson Cult of He Who Is Shrouded In 
  Madness
  18
  Th e Six-Fingered Purple Hand of Zygak-Xith
  19
  Violators of the Pale Empress
  20
  Heralds of the Blasphemous Dawn
  CULTIST AFFECTATION
  CULTIST AFFECTATION
  1
  Th ey wear masks.  Maybe it’s only during 
  rituals or at night or all the time.
  2
  Th ey greet each other with a secret 
  handshake.
  3
  Th ey make a specifi c hand gesture – especially 
  when something cult related is being 
  discussed.
  4
  Th ey wear some kind of necklace, medallion, 
  amulet, or pendant around their neck.
  5
  Th ey have one or more tatt oos.  Th e symbolism 
  has a deeper meaning that only a cultist would 
  know.
  6
  Th ey shave their heads.  Alternatively, they 
  could all have long hair or a mo-hawk.
  
   84 
  
   85 
  WHO OR WHAT IS ABOUT TO BE 
  WHO OR WHAT IS ABOUT TO BE 
  SACRIFICED?
  SACRIFICED?
  1
  Young, nubile girl native to the area.
  2
  Young, nubile girl who is a stranger or foreign 
  to the area.
  3
  Physically strong tribesman (likely a warrior) 
  or physically weak tribesman (such as a 
  wizard).
  4
  Scientist who has discovered a dark secret 
  about the land or the cult’s leader.
  5
  Pregnant woman.
  6
  Th e cult leader (or next in line) who believes 
  he’ll either be reborn or ascend to a higher 
  plane.
  7
  Piece of advanced technology – like a 
  computer or alien technology like a pulsing 
  ultra-star.
  8
  Robot, cyborg, or android.
  9
  Humanoid creature diff erent than those 
  sacrifi cing him.
  10
  Th e entire congregation is about to commit 
  mass suicide by drinking poison or giving an 
  annihilation sphere an astral hug.
  11
  Mature, alluring woman whose hyper-
  sexuality frightens the men-folk.
  12
  Ancient artifact or relic that has great magical 
  powers (possibly cursed).
  WHAT ARE THE CULTISTS 
  WHAT ARE THE CULTISTS 
  SACRIFICING HE/SHE/IT ON?
  SACRIFICING HE/SHE/IT ON?
  1
  Crude altar made of stone.
  2
  Dressed stone altar adorned with bas-relief of 
  demons, devils, or tentacled entities.
  3
  Sigil(s) drawn in chalk upon a stone fl oor or 
  colored sand poured upon another surface.
  4
  Shallow pond, grott o, underground lake, or 
  deep within a well.
  5
  Pentagram constructed of human and animal 
  remains.
  6
  Smooth, streamlined rectangle made out of 
  plastic or similar artifi cial material.
  7
  Part of an enormous machine… Hail to the 
  Metal Gods!
  8
  Mountain, hilltop, or highest point of a 
  temple.
  WHAT’S SO SPECIAL ABOUT THIS 
  WHAT’S SO SPECIAL ABOUT THIS 
  CULT LEADER
  CULT LEADER
  1
  Named or described in a prophecy or sacred 
  writing
  2
  Appears in cultists’ dreams
  3
  True believer who has risked life and limb to 
  further the cult and its goals
  4
  Unfl appable; always calm, cool, and collected
  5
  Extremely fortunate; seems to land on his feet 
  every time
  6
  Either rich or has access to valuable resources
  7
  Knows one or more powerful secrets
  8
  Has magic item or mystical object (33% 
  chance an artifact or relic)
  9
  Has magical, supernatural, psionic, or psychic 
  abilities
  10
  Able to hypnotize people
  11
  Genius; not only extremely intelligent and 
  creative but able to convey big ideas to the 
  simpleminded
  12
  From the future, alternate dimension, or 
  parallel universe
  13
  Keeps a ferocious, cunning, or deadly animal 
  companion
  14
  Actually being propped up as a fi gurehead by 
  the true leader waiting in the shadows
  15
  Not human or partially human
  16
  Protected by unseen forces
  17
  Con man who knows how to discover what a 
  person is emotionally invested in and exploit 
  it
  18
  Has his own lair, base, headquarters, temple, 
  or command center
  19
  Inherited his position from father or 
  grandfather who used to be the cult leader
  20
  Earned the leadership by killing the previous 
  leader in ceremonial combat
  
   86 
  12
  Crystalline, 
  glassy, 
  glass-like, 
  mineral, 
  jeweled, or quartz
  13
  Fungoid, cancerous, tumorous, or polypous 
  (like a polyp or covered in polyps)
  14
  Reptilian, serpentine, ophidian, slithering, or 
  draconic
  15
  Amphibian, scaly, batrachian, or spidery, 
  insectoid, troglodytic
  16
  Feathered, bird-like, bat-like, avian, or 
  winged
  17
  Simian, gorilla, ape-like, loping, or vaguely 
  human
  18
  Vegetable, Vegetative, fl owering, fruiting, 
  lush, leafy, cactile, or proliferous
  19
  Eldritch, unknowable, alien, extra-terrestrial, 
  ultra-telluric, 
  incongruous, 
  impossible, 
  ineff able, or beyond comprehension
  20
  Metal, metallic, electronic, silvery, robotic, 
  cybernetic, technological, or computer-like
  SPECIFIC STRANGENESS
  SPECIFIC STRANGENESS
  1
  Way too many eyes, no eyes, cyclops, or gaze 
  att ack
  2
  Mutt ering, whispering, shrieking, ululating, 
  chanting, squelching, or calling to the Old 
  Ones.
  3
  It has 2d6 tentacles, may be suckered, 
  poisonous, or extra slimy
  4
  Scorpion’s tail, shark’s teeth, human face, or 
  spider legs
  5
  Horns like a goat, ram, bull, unicorn, impala, 
  kudu, hartebeest, etc.
  6
  Insane, crazed, wild, mad, furious, desperate, 
  inconsolable, or covered in blood
  7
  Can only be hurt by magical weapons and/
  or spells, magic resistant, magic nullifying, 
  spell-casting, carrying or wielding an artifact 
  or relic
  8
  Undead, vampiric, parasitic, or in some form 
  of metamorphosis
  9
  Cannot be destroyed – merely banished to the 
  crystal, gem stone, magic item, book, lamp, 
  statue, idol, or talisman from whence it came.
  10
  Unusual size – either giant or tiny. 
  9
  Organic altar of tentacles, eyes, tongues, and 
  slimy moist fl esh.
  10
  Energy source that either absorbs or destroys 
  the sacrifi ce upon contact.
  Monsterpalooza!
  Monsterpalooza!
  Th is table is for generating an entity’s overall appearance.  I 
  recommend rolling 3d20 each time you want to describe a 
  new creature to the players.  Based on your results, choose 
  what comes naturally, best fi ts the situation, or inspires you in 
  the moment.  Th ere’s no science or mathematical formula to 
  creating the perfect monster.  If you roll an 8, but you suddenly 
  notice something in number 9 that sounds intriguing when 
  paired with something in number 4, then go with that.  Or 
  don’t roll at all and just pick something from rows 11 and 12.  
  Th is is an idea generator, not lightning in a bott le.  Th ere are 
  no guarantees that rolling randomly will produce something 
  awesome every time.
  Let’s say you roll and get results of 3, 3, and 17.  “Shambling 
  down the corridor is an indescribable, simian demon.”  Based 
  on that brief description, the players won’t know what the 
  hell it is… and that’s half the fun.  
  CREATURE FEATURES
  CREATURE FEATURES
  1
  Gelatinous, coagulated, jellied, oozing, or 
  gummy
  2
  Emaciated, cadaverous, ghoulish, or skeletal
  3
  Indescribable, unspeakable, nameless, or 
  sanity-destroying
  4
  Glistening with ichor, slime, or ooze; slimy, 
  pungent, disgusting, revolting, or mucul ent
  5
  Sorcerous, demonic, bestial, icy, frozen, fi ery, 
  gaseous, or made of pure energy
  6
  Iridescent, radiant, luminous, or glimmering, 
  shimmering, glitt ering, or shiny
  7
  Swollen, obese, or corpulent
  8
  Semi-corporeal, 
  translucent, 
  transparent, 
  shadowy, or invisible
  9
  Elongated, 
  truncated, 
  elastic, 
  plastic, 
  polyhedron, or geometric
  10
  Foul, 
  hideous, 
  grotesque, 
  noxious, 
  or 
  tentacled
  11
  Amorphous, nebulous, starry, shapeless, 
  formless, or indefi nite
  
   87 
  35
  Bilious green
  36
  Salmon
  37
  Batt leship grey (greige)
  38
  Lemon yellow
  39
  Olive green
  40
  Lavender
  41
  Honey
  42
  Maroon
  43
  Burgundy
  44
  Bronze
  45
  Copper
  46
  Cream
  47
  Caramel
  48
  Coral
  49
  Cyan
  50
  Tan
  51
  Raspberry
  52
  Eggplant
  53
  Tangerine
  54
  Amber
  55
  Chartreuse
  56
  Teal
  57
  Mint green
  58
  Navy blue
  59
  Plum
  60
  Puce
  61
  Hot pink
  62
  Royal blue
  63
  Vermillion
  64
  Rose
  65
  Bone
  66
  Vanilla
  67
  Mustard yellow
  68
  Terra cott a
  69
  Platinum
  70
  Honeydew
  71
  Orchid
  72
  Aquamarine
  73
  Amethyst
  74
  Coff ee
  75
  Kaleidoscope
  76
  Almond
  77
  Apricot
  78
  Desert sand
  79
  Electric indigo
  11
  Capable 
  of 
  fl ying, 
  levitating, 
  fl oating, 
  hovering, teleporting, or disappearing in a 
  puff  of weird-colored smoke (see following 
  table).
  12
  Psionic; has one or more of the following: 
  telepathy, telekinesis, precognition, read 
  surface thoughts, empathy, and mind blast.
  COLORS
  COLORS
  1
  Lime green
  2
  Turquoise
  3
  Emerald
  4
  Violet
  5
  Worm purple
  6
  Blood red
  7
  Lilac
  8
  Mauve
  9
  Gold
  10
  Silver
  11
  Onyx black
  12
  Midnight blue
  13
  Eggshell blue
  14
  Sea-foam
  15
  Sea-glass
  16
  Azure
  17
  Yellow ochre
  18
  Leather brown
  19
  Orange
  20
  Periwinkle
  21
  Indigo
  22
  Forest green
  23
  Crimson
  24
  Rust
  25
  Charcoal grey
  26
  Pink
  27
  Jade
  28
  Aqua
  29
  Fuchsia
  30
  Stark white
  31
  Beige
  32
  Magenta
  33
  Colorless
  34
  Color from out of space (such as jale and 
  ulfi re)
  
   88 
  MAGIC ITEM MUTATION
  MAGIC ITEM MUTATION
  1
  Item becomes intelligent with an overbearing 
  personality.  If item was already intelligent it 
  now has a split personality (see Th e Islands 
  of Purple-Haunted Putrescence for complete 
  list of personality quirks).
  2
  Item can fl y of its own accord or when 
  commanded to do so.
  3
  Item is constantly secreting a viscous slime or 
  mucus (roll for color).
  4
  Item is faintly luminous, emitt ing an eerie 
  glow (roll for color).
  5
  Item has or grows a gemstone or crystal that 
  calls to demons or summons (but doesn’t 
  bind) devils.
  6
  Item has the ability to cast a new spell 
  (something from one of Venger Satanis’ books 
  or Draconic Magazine – GM’s choice).
  7
  Item births a putrescent yellow eye, allowing 
  wielder to see what the item sees… but who or 
  what else can see through it as well?
  8
  Item can transform into a person for 3d6 
  round per day.
  9
  Item can infl uence the weather with a 4 
  in 6 chance of making it rain, shine, snow, 
  windy, storm, or whatever the wielder wishes. 
  Weather infl uence lasts 1d4 hours.
  10
  Item has a 1% chance (not cumulative) of 
  poisoning the wielder each time it’s used – 
  save versus death!
  11
  Item summons 2d4 pink bunny rabbits that 
  will follow the item and occasionally lay 
  pastel, multi-colored eggs.  Th ese rabbits 
  cannot be destroyed!
  12
  Item begins speaking infernal when used.  
  Th ere’s a 1 in 6 chance per day that the item 
  communicates with a dark god, demon lord, 
  or old one!
  13
  Item sprouts 2d4 suckered, slimy green 
  tentacles.  Each tentacle is approximately 18” 
  long.
  14
  Item has voracious sexual appetite and wishes 
  to be intimate with… 1) human or humanoid 
  female, 2) items similar to itself, 3) any magic 
  item, 4) monsters, 5) infernal beings, 6) 
  sorcery and spells.
  80
  Pearl or pearlescent
  81
  Light absorbing
  82
  Chameleonic (based on environment)
  83
  Color changes based on mood
  84
  Some kind of nebula, constellation, or outer-
  space coloring or patt ern
  85
  Color can only be seen in the dark (roll 
  again)
  86
  Metallic version of (roll again)
  87
  Florescent or Day-Glo version of (roll again)
  88
  Darker, shadow version of (roll again)
  89
  Pale or pastel version of (roll again)
  90
  Drab, dull, or muted version of (roll again)
  91
  Sparkly version of (roll again)
  92
  Striped (roll again, twice)
  93
  Polka dots (roll twice – fi rst roll is background, 
  second is dot color)
  94
  Marble - dominant color (roll again), streaked 
  with (roll again) veins
  95
  Color (roll again) appears to be throbbing or 
  pulsating
  96
  Roll twice
  97
  Roll twice
  98
  Roll twice
  99
  Roll thrice
  100
  Roll thrice
  Mutant Magic Items
  Mutant Magic Items
  Th ere must be a hundred diff erent RPGs in existence that 
  deal with character mutations.  Chances are, you already 
  own a couple of them and can extrapolate from there.  Th is 
  table, on the other hand, is more or less unique.  Now, what 
  sort of occurrence would make a magic item mutate?  Here 
  are a few examples:  passing through a dimensional portal, 
  blasted by an artifact or relic, subjected to gamma rays, or 
  trying to combine magic items together.
  Roll upon the table below in order to see how a character’s 
  magic item mutates.  Roll once, and only for magic items that 
  exceed the “ordinary” – a sword +1 or wand of lightning bolts 
  isn’t going to cut it.  Roll thrice for the truly extraordinary, 
  such as artifacts and relics.  Th e following table deals with 
  duration.  
  
   89 
  
   90 
  directly with Nyarlathotep, Ubbo-Sathla, Shub-Niggurath, 
  Azathoth, and so on.
  If adventurers come face to face with a manifestation of 
  cosmic horror, roll 1d6.  For instance, not the thing itself but 
  a byproduct, side-eff ect, or power given to a High Priest… 
  like a spell, monster, depiction, knowledge, or device.  Th ose 
  facing the full brunt of cosmic horror – K’tulu, Yogsoggoth, 
  Tsathag’kha, etc. or true understanding of man’s frightful 
  position in the universe must roll 2d6.
  COSMIC HORROR
  COSMIC HORROR
  1
  Individual gains 1d6 on all d20 rolls for the 
  next 1d4 rounds
  2
  Nothing happens
  3
  Individual cannot speak coherently for 1d4 
  rounds
  4
  Individual is dazed for 1d4 rounds
  5
  Individual cannot move for 1d4 rounds
  6
  Permanent Individual must either fl ee or 
  cower in the fetal position for 1d6 rounds
  7
  Individual goes catatonic for 2d4 rounds
  8
  Individual loses consciousness for 3d6 
  rounds
  9
  Individual goes berserk, att acking anyone or 
  anything nearby
  10
  Individual develops a serious phobia (fear of 
  the dark, spiders, tentacles, slime, blood, etc.)
  11
  Individual is marked for later use by either the 
  cult or their awful god
  12
  Individual becomes a worshiper and faithful 
  servant of some loathsome divinity
  Stupid Gnome Hat
  Stupid Gnome Hat
  Th is table will reveal what sort of stupid hat that gnome in 
  your campaign is wearing.  It’s mostly for comic relief, but 
  then… so are gnomes.  ;)
  THIS GNOME’S STUPID HAT IS WAY 
  THIS GNOME’S STUPID HAT IS WAY 
  TOO...
  TOO...
  1
  Tall and narrow
  2
  Short and squat
  3
  Curved like a snail
  4
  Extra wide
  15
  Item becomes diffi  cult for the primary user 
  to wield.  Th ere’s a 1 in 6 chance of the item 
  suddenly not working per att empt.
  16
  Item grows scales and fi ns.  It knows how to 
  swim and can breathe underwater, allowing 
  the wilder to swim and breathe underwater as 
  well – but only for 3d4 minutes per day.
  17
  Item becomes att uned to a greater item, force, 
  or intelligence (such as the purple islands).  
  Item will serve its new master faithfully while 
  being used by the wielder.
  18
  Item can sense the presence of… 1) pastry 
  and tasty baked goods, 2) gold, 3) gemstones 
  and jewels, 4) magic items, 5) infernal beings, 
  6) priests, sacred items, and holy places.
  19
  Item also acts as a computer – calculating, 
  analyzing, 
  and 
  interfacing 
  with 
  other 
  technology.
  20
  Once per day, the item allows the wielder to 
  teleport up to one mile.  Th ere’s a 1 in 6 chance 
  per teleportation that wielder is transported 
  to a random location – GM’s choice.
  DURATION
  DURATION
  1
  1d4 minutes
  2
  1d4 hours
  3
  24 hours
  4
  One week
  5
  One year
  6
  Permanent
  Save versus Cosmic 
  Save versus Cosmic 
  Horror
  Horror
  A few RPGs have a mechanic determining what happens 
  when human beings encounter something that’s so far 
  outside the box it may squash their sanity like a grape.  If 
  you’re playing one of the many games that don’t have such 
  a mechanic, here’s a table for you to roll on.  Keep in mind, 
  this type of thing is and should be rare – break glass in case of 
  emergency.  Fantasy RPGs are full of weird monsters and dark 
  gods, so don’t go overboard.  On the other hand, the Great 
  Old Ones and their ilk should be treated with respect.  PCs 
  should genuinely be apprehensive about reading forbidden 
  tomes, summoning shambling servitors, and communing 
  
   91 
  CONTAINING...
  CONTAINING...
  1
  Half-eaten apple
  2
  Circuit board
  3
  Fake poop or vomit
  4
  Vial of strange-looking liquid (2 in 6 chance 
  of being poison)
  5
  Th ingamabob
  6
  Doodad
  7
  Whatsit
  8
  Dinglehopper
  Complications
  Complications
  Shit happens when you’re out adventuring. Th ere’s you and 
  your comrades vs. the enemy, but every once in a while, 
  something else creeps in, becoming a minor or major issue, 
  depending on what it is, when it occurs, and how effi  ciently 
  it’s dealt with. Yeah, I’m talking about complications.
  Now, the new DMG has one or more tables for this as well. 
  What can I say? Th is one is diff erent. Variety is the spice that 
  extends life and expands consciousness... ride the snake!
  Roll no more than once per session and no less than once per 
  three sessions...
  1
  One of the PCs suddenly has an embolism, 
  seizure, stroke, allergic reaction, or waves of 
  untenable nausea. Th at dude’s going to be out 
  of commission for awhile, probably needing 
  some kind of medical att ention, rare herbs, or 
  divine resuscitation (not just a cleric laying on 
  hands or providing a healing potion).
  2
  Some kind of natural disaster: earthquake, 
  cave-in, landslide/mudslide, fl ood, etc.
  3
  One of the PC’s magic items starts whispering 
  dark things, either barely audible by the 
  wearer/bearer or the communication is 
  telepathic. Th ese utt erances might be 1) 
  obscene, 2) gruesome, 3) nonsensical, or 4) 
  backstabbing such as, “I will betray you.”
  4
  One of the NPCs starts hearing voices which 
  drive him insane, resulting in 1) catatonia, 
  2) going berserk, 3) paranoid delusions, or 4) 
  compulsive lying.
  5
  Pointy
  6
  Small
  7
  Large
  8
  Th readbare with multiple, off -color patches
  9
  Tilted or leaning to one side
  10
  Floppy
  11
  Religious
  12
  Embroidered with gnome’s name
  13
  Squid-like or Octopoid
  14
  Laden with fruit
  15
  Blooming tropical fl owers
  16
  Shaped like a bird
  17
  Draconic (normally, it would look badass but 
  on a gnome it just looks ridiculous)
  18
  Stolen
  19
  Roll twice
  20
  Roll thrice
  AND...
  AND...
  1
  Striped
  2
  Polka-dots
  3
  Wavy lines
  4
  Geometric design
  5
  Magic-looking sigils (not actually magical)
  6
  Solid color
  7
  Jackson Pollack (abstract splotches)
  8
  Possessed by a demon
  9
  Furry, fuzzy, or hairy
  10
  Containing 
  a 
  windmill, 
  propeller, 
  or 
  whirligig
  11
  Rainbow patt ern
  12
  Roll twice
  ALONG WITH...
  ALONG WITH...
  1
  Bells
  2
  Tassels
  3
  Fringe
  4
  Gemstones (all fake)
  5
  Sparkles
  6
  Secret compartment
  
   92 
  14
  Someone calling himself “the Dungeon 
  Master” suddenly appears.  He challenges 
  worthy opponents to survive his contest – 
  trial by fi re.  Challengers must wrestle the 
  digital chartreuse fl ame of Excalibrate in 
  cyberspace!
  15
  A holographic sorcerer named Pajoal has been 
  trapped within crystal shard for centuries.  
  Pajoal was imprisoned because he knew that 
  the universe wasn’t real, only an elaborate and 
  ultra-convincing hologram.  He also knows 
  about a well-hidden escape hatch.
  16
  PCs stumble upon the polished surface of 
  several large stones embedded in a wall.  If one 
  waits in front of it long enough, the polished 
  stones will show scenes of future events.
  17
  A peasant is running for his life.  He comes 
  across the PCs, telling them the name of 
  a demon chasing him.  Th e demon’s name 
  must be spoken when they stand before a set 
  of glyphs carved upon the blade of a magic 
  sword.
  5
  Th e enemy has either seen the error of his ways 
  or knows defeat is imminent. Under a white 
  fl ag of truce, he tries to negotiate a peaceful 
  resolution. Additionally, he confesses his pact 
  with a powerful demonic entity who must be 
  dealt with swift ly and surely.
  6
  A damsel in distress cries out! Her peril has 
  nothing to do with what the PCs are currently 
  dealing with. She was wandering around and 
  got captured - now she’s about to be devoured. 
  Hurry!
  7
  Th e PC’s principle benefactor, employer, 
  or mentor appears fl oating lifeless in a large 
  cylinder full of sea-glass colored liquid.
  8
  Th e local authorities have the wrong idea, 
  believing the PCs are to blame for whatever 
  ills have recently befallen the land. Dead or 
  alive, you’re coming with the royal guards, 
  town mob, hired assassins, or wizard’s council 
  envoys.
  9
  One of the PCs discovers a spy in their midst. 
  He/she/it has been eavesdropping on the 
  party for a while and gett ing messages to his/
  her/its master.
  10
  A competing party of adventurers has beaten 
  the PCs to the punch. Th ey now have the 
  macguffi  n (loot, artifact, ancient map, book 
  of secrets, wizard’s lavender scarf, head of the 
  half-orc Garcia, etc.) with any blame falling 
  upon the PCs themselves. What are the PCs 
  going to do about that?
  11
  A king has been newly crowned. Remember 
  the old king? Well, this guy (girl, demon, 
  servitor of Yogsoggoth, etc.) is the total 
  opposite. What’s more, he’s laying down 
  proclamations left  and right. What happened 
  to the previous king? Good question!
  12
  Th e deity of the party’s cleric has just suff ered 
  a major defeat (perhaps he’s even dead). For 
  the next 24 hours, there will be no healing, 
  spells, or assistance of any kind. Maybe a holy 
  quest is required to strengthen his deity.
  13
  Th e corroded metal exterior of a suspended 
  animation capsule can be seen glinting in the 
  sun.  It contains an odd-looking humanoid 
  with strange powers.  He will stop at nothing 
  to fi nd and awaken his brothers before taking 
  over the realm.
  
   93 
  6
  Hamogg  -  Male half-orc warrior and thief 
  who looks more like his human parentage 
  than orc.  He wields a short sword with a 
  nasty-looking edge.  Hamogg is looking for 
  a death priest nearby but doesn’t know the 
  priest’s name or what he looks like.  “I’ll know 
  him when I sees him.”
  7
  Sigrid  -  Female human from a nearby town.  
  She has curly raven hair, green eyes, and dark 
  red lips.  Sigrid borrowed money from an 
  unscrupulous lowlife named Dorzo weeks 
  ago but hasn’t paid the debt back yet.  She’s on 
  the lookout for anything valuable which she 
  can sell for gold… or perhaps give to Dorzo to 
  keep his henchmen from breaking her prett y 
  legs.
  8
  Vasheen  -  Male half-demon with exotic 
  features and crimson-tinged complexion.  
  He wields a scimitar and wears fl owing 
  black robes like that of a sorcerer.  Vasheen 
  is curious about everything and everyone 
  and constantly refers to himself in the third 
  person.  “Vasheen would like to know how 
  you came across such an elegant wand.”
  9
  Sephir – Female half-elf with platinum hair.  
  She is beautiful and intelligent.  Sephir carries 
  no weapons.  She’s of royal blood and wears 
  a protective amulet.  Sephir seeks a worthy 
  suitor.
  10
  Ellar – Male elf, scholar.  He knows a litt le 
  about a great many things.  No weapons.
  11
  Dornan – Male human, noble and envoy of the 
  King.  He wears fancy, jewel-toned clothing.
  12
  Chenweth 
  – 
  Male 
  half-elf, 
  sorcerer’s 
  apprentice with pet frog.  He knows a few 
  cantrips.
  13
  Gyllen – Male gnome illusionist wearing 
  periwinkle robes and a dragon’s eye amulet.  
  14
  Oswalt – Male halfl ing sorcerer wearing 
  blood red robes lined with golden brocade.  
  He’s obsessive-compulsive, always writing 
  things down in his spell book (now up to 
  seven volumes).  Oswalt writes everything he 
  says, does, or thinks of and has done for the 
  last few years.  
  15
  Winslow – Male human wandering minstrel 
  with an eye-patch and forest green cloak.  
  Concealed inside his right leather boot is a 
  magical dagger.
  18
  At the base of a mountain, PCs notice a cave 
  wherein burns a blue fl ame that never dies.  
  Legend states the azure fi re has restorative 
  properties.
  19
  A cultist is on his way to consult the accursed 
  Necronomicon.  Th e book will only be 
  available at the Dark Night Temple for another 
  12 hours before it returns to its home plane, 
  inaccessible for another seven years.
  20
  Barbarians are raiding the area!  Dozens of 
  bearded, axe and sword wielding Northmen 
  are rampaging through the countryside, city, 
  etc.  Everyone in their way is gett ing hacked 
  to pieces.
  Unique Non-Player 
  Unique Non-Player 
  Characters
  Characters
  1
  Oskk  -  Male half-orc barbarian with black 
  disheveled hair and long scars along his left  
  arm; he wields a two-handed sword.  Never 
  smiles.  Hates staying in one place too long.
  2
  Ururau  -  Male human warrior of the Cabbou 
  tribe; muscular and wearing animal skins.  He 
  wields a warhammer.  Ururau hates sorcery 
  and distrusts elves.
  3
  Zaralynn  -  Female dark elf cleric who 
  worships the Great Devourer.  She has aqua 
  hair with white streaks; one eye blue, the 
  other gold.  Zaralynn wields a dire fl ail and 
  comes from the subterranean city Trehallvyn.  
  Her primary motivation is collecting enough 
  gemstones to decorate a statue of the Great 
  Devourer.  
  4
  Seej  -  Male human rogue with a short black 
  beard and wearing a burgundy hooded cloak.  
  He wields a dagger, its hilt adorned with a 
  single garnet.  Seej is hungry and looking for a 
  nice meal and maybe a safe place to sleep.
  5
  Bornoth  -  Male dwarf from the northern 
  mountains.  He has a long reddish brown beard, 
  wears mithril armor, and wields a great-axe… 
  which he keeps misplacing.  Bornoth dislikes 
  goblinoids and distrusts humans who are too 
  soft  on monsters and monstrous humanoids.  
  He’s seeking gold, of course.  Lovely gold!
  
   94 
  9
  We are too permissive; they are too 
  restrictive.
  10
  We are too restrictive; they are too 
  permissive.
  11
  Our leaders despise each other.
  12
  Deceit and betrayal (on both sides) have 
  poisoned our relationship with them.
  Reaction Table
  Reaction Table
  Sometimes, it’s fun to be surprised. Not like when a tribe of 
  Lizardmen marches into your camp while you’re butt ering 
  up a busty blonde hireling. No, I’m talking about when the 
  players and Game Master alike don’t exactly know how an 
  encounter with humanoids is going to go. If your improv 
  skills are up to snuff , then get out your 2d6 and have at it, 
  hoss.
  REACTION TABLE
  REACTION TABLE
  2
  Hates the adventuring party with a purple 
  passion.
  3
  Bloodthirsty maniacs.
  4
  Natural misanthropes.
  5
  Distrustful 
  and/or 
  prejudiced 
  against 
  adventurers.
  6
  Treasure-hungry and looking for easy 
  pickings.
  7
  Ambivalent towards adventuring party but 
  serve one or more Dark Gods.
  8
  Neutral but ambitious - will try to steal 
  valuables and/or conquer weaker beings when 
  opportunity presents itself.
  9
  Favorably disposed towards the party... for 
  now.
  10
  Well met, traveler! Noticeable commonalities 
  between groups.
  11
  Admire and respect the adventurers.
  12
  View the adventurers as demi-gods of some 
  kind.
  ________
  A charismatic PC att empting to parlay with humanoids 
  may move the rolled result one space higher, assuming he 
  ingratiates himself to the strangers with something like 
  a small gift , lavish praise, sensitive information, tales of 
  incredible adventure, etc. A demonstration of superiority 
  16
  Sandar – Male human merchant from the 
  southern isles.  He wears yellow and orange 
  silk robes with a white turban and wields 
  a scimitar.  Th ere’s a 33% chance that he’s 
  accompanied by a woman in semi-transparent 
  magenta silks.  She has dark, alluring eyes.  
  Her name is Casahn and she’s a slave.
  17
  Lactres – Androgynous elf rogue with 
  expertise in disguise.  Lactres carries a magic 
  short sword and wears grey robes with brown 
  boots.  Th e elf also romantic partnerships 
  with individuals of both sexes.  
  18
  Tennik – Male dwarf from the mountain 
  stronghold to the east.  His beard is as black 
  as his heart.  Tennik is an evil old bastard 
  who’d squeeze copper from a dying orphan 
  if it didn’t take up too much of his precious 
  time.  Th e dwarf wields a magic warhammer 
  given to him by his uncle who stole it from a 
  red dragon’s horde decades ago.
  19
  Orin – Male human, tall and wiry.  He wears 
  the clothes of a noble, though they’re tatt ered, 
  stained, and in need of mending.  Orin has no 
  weapons but wants to acquire a magic sword 
  as soon as he can, “To teach my brother a 
  lesson he’ll never forget.”
  20
  Bethany – Female half-elf, strong and proud.  
  She fought in the Iron Wars years ago and 
  wields a long sword chased with a semi-
  precious iridescent stone of unknown origin.  
  Bethany laughs easily but trusts with great 
  diffi  culty.
  WHY IS THERE CONFLICT BETWEEN 
  WHY IS THERE CONFLICT BETWEEN 
  FACTIONS?
  FACTIONS?
  1
  Th ose others have something we want.
  2
  Th ose others want something we have.
  3
  Th ose others like or enjoy something we 
  loathe.  
  4
  We loathe something they like or enjoy.
  5
  We worship diff erent gods with opposing 
  views.
  6
  We worship the same god(s) but in a diff erent 
  way.
  7
  We’re too similar and our similarities push us 
  further towards ruin and recrimination.
  8
  Irreconcilable diff erences.
  
   95 
  5
  Be grateful for what you have rather than 
  whining about what you don’t.
  6
  Positivity is key.  Expect good things but don’t 
  get upset when obstacles appear.
  7
  Have 
  high 
  expectations 
  for 
  yourself.  
  Sometimes you’ll mess up.  Th at’s ok.  Aim 
  high regardless.
  8
  Keep your sense of humor.  You’ll need it.
  9
  Always be looking for opportunities and take 
  advantage of them.
  10
  Don’t give up.  Keep pushing.  Success is about 
  incremental progress, daily eff orts… slow and 
  steady wins the race.
  Th ose are my 10 steps.  I hope they help.  Aligning yourself 
  with the universe also means you might have to oppose it 
  from time to time – especially in the beginning.  Th e universe 
  will test your mett le.  Down the road, it may become an ally; 
  however, don’t be surprised to discover that it’s currently 
  your enemy.
  10 Ways to Alter your 
  10 Ways to Alter your 
  Purple Consciousness
  Purple Consciousness
  [Originally published on Geek Native, March 19th]
  Th is piece was going to be called Ten Tips for Running 
  Purple. But then I realized that I already wrote about that in 
  the book itself. Plus, you’ll most likely run it in whatever style 
  makes you feel most comfortable and/or awesome. What 
  other way is there? So, really, this article contains ten utt erly 
  non-essential encounters or encounter fragments for you to 
  stir into the hex-tastic eldritch gumbo of sci-fantasy gonzo 
  that is Th e Islands of Purple-Haunted Putrescence.
  Th ere’s already a ton of loosely related encounters waiting to 
  be haphazardly strung together or carefully interwoven into 
  a meaningful tableau. Whether you’re running a one-shot for 
  your regular gaming crew, an ongoing weekly campaign, or 
  convention game, I think there’s a wealth of sexist B-movie 
  schlock to do with as you please. But, sometimes, more is… 
  more. Can you have too much of a good thing? Don’t know. 
  I’ve been eating pizza with Hidden Valley Ranch Dressing 
  and drinking Mountain Dew every meal for a few weeks 
  now… to the point where I can’t leave my house to search for 
  the answer.
  I wrote Th e Islands of Purple-Haunted Putrescence back in 
  good old 2014. Seems like a while ago now… So, why not a 
  also does the trick.
  Conversely, adventuring parties who immediately insult, 
  off end, or antagonize a strange group of humanoids (like 
  sticking an orc head on a pike and carrying it around or 
  wearing a goblin ear necklace) immediately move their 
  reaction one space lower. Showing an inordinate amount of 
  weakness, stupidity, and/or riches will have the same eff ect.
  Understanding the 
  Understanding the 
  Universe
  Universe
  What is that missing variable?  Th e “x” factor randomizing 
  success, failure, or something in between?  Some might call 
  it luck, others skill.  A select few realize it’s a very special 
  technique:  understanding the universe and our place within 
  it.
  Frequently, my wife makes mention of my “extraordinary 
  fortune”.  If we go out to a restaurant and one of our meals 
  is screwed up, it’s hers.  A parking spot will suddenly open 
  up just as I’m driving up to our destination.  Stuff  like that. 
  Not always, but a lot of the time things just sort of work out 
  for me.  Th at can be frustrating for those who don’t have that 
  knack or set of skills.  Danielle hates it – except when she 
  needs my favorable vibes to help her out.
  Well, guess what?  It can be taught.  Th e following are 10 steps 
  to good luck; however, it’s not simply luck I’m trying to instill 
  but powerful insight that will set you upon the correct path 
  and keep you there.  Most of these you’ve probably read before 
  in one form or another.  I’ve internalized a lot of philosophy 
  from such gurus as Anthony Robbins, Gurdjieff , and Anton 
  Szandor LaVey.
  1
  Do what you were meant to do on this earth.  
  Recognize your unique gift  or special talent 
  and use it as oft en as you can.
  2
  Don’t be jealous or envious of others’ success.  
  Instead, use their accomplishments as 
  motivation for self-improvement.
  3
  Be generous, kind, and considerate when it 
  costs you nothing.
  4
  Have a higher purpose.  Th ere’s a reason why 
  you’re here, not just to take up space and eat 
  as much cake as possible.  Tie your own goals 
  to a larger, ultimate goal that fi ts with the 
  universe’s plan.
  
   96 
  4
  Th e party stumbles upon a bathroom straight 
  out of the 1980’s. Th e interior is adorned with 
  wall-to-wall black marble tile and columns 
  veined with white. Th e rest is violet neon-
  rimmed mirrors, decorative glass block walls 
  surrounding a jett ed Jacuzzi tub, and toilet 
  with bidet. Th ere’s a crumpled, soggy blue 
  and orange cheerleader uniform on the fl oor 
  next to the toilet. Is the plumbing connected 
  to an inter-dimensional sewer system or is the 
  waste simply being fl ushed underground?
  5
  A group of three Purple worshipers have split 
  off  into their own sub-faction. Th ey currently 
  wear purple robes spatt ered with a milky white 
  liquid (now dried). Each has had a vision – 
  possibly given to them by the island(s) – that 
  the Purple Putrescence is a very bad thing – 
  it’s the ruin of men and a new golden age of 
  civilization can’t begin until Th e Th ing Th at 
  Rots From Th e Sky has been vanquished.
  One of them has a cunning plan. He knows 
  a way to destroy the godlike monstrosity but 
  can’t att ain the object in question (Vibo-Tron 
  5,000) without the help of others.
  special ten-month anniversary tribute? ‘Cause if you can’t 
  shake things up with a few random ideas that just popped into 
  your head genetically spiced with pop-cultural pandering, 
  then what good is it? Any of it?!? You might as well put the 
  phone down and NOT order that pizza, for Christ’s sake.
  Alright, here goes nothing…
  1
  A year ago, the disciples of Zygak-Xith 
  discovered several green pods growing in 
  a botanical dome on Kravian. Th ose pods 
  eventually sprouted into sentient vegetation. 
  Th e plant creatures, Xynoids, adopted the 
  appearance and killed the fi rst beings they 
  encountered – the Zygak-Xith worshipers.
  Whenever the PCs encounter a disciple of 
  Zygak-Xith, there’s only a 2 in 6 chance that 
  he’s the genuine article, instead of a shape-
  changing vegetable disguised as human. 
  What are the Xynoids’ goals? To dominate the 
  islands themselves while feasting upon all the 
  animal life they can absorb.
  2
  Th ere’s a disused monorail system throughout 
  the islands. Every 50’, adventurers notice 
  concrete supports (with numbers and lett ers 
  molded into them) that reach high up in the 
  air.
  Perhaps the rail system begins inside a 
  skull-shaped mountain. Is that car from 
  the Dungeons & Dragons ride part of if, 
  or is the monorail more like a scifi  70’s 
  shutt le a la Disney World? Presumably, this 
  transportation system has been around for 
  decades (maybe even centuries). Who exactly 
  built it and what happened to them? Each 
  hex the party moves through, there’s a 1 in 6 
  chance of either minor damage to the rail or 
  some kind of small malfunction.
  3
  Somewhere along the way, maybe in one of 
  those “empty” hexes, the PCs discover a litt le 
  girl’s pink notebook full of stickers (unicorns, 
  rainbows, fairy princesses, etc.) However, 
  it also contains a skillfully drawn winged 
  squid-like demon in purple crayon. Th ere’s 
  something alien and unsett ling about the 
  creature. Adventurers who know something 
  of the Cthulhu Mythos could probably make 
  an educated guess.
  
   97 
  8
  Mutant Death Squad! A drow arms dealer 
  named Asher has recently equipped the 
  mutant humanoids of Korus with automatic 
  weapons, lasers, and fragmentary grenades. 
  Now, they’re a mutant death squad looking 
  for food, shelter, magic items, high-tech gear, 
  and all around good times… including female 
  companionship – they’re a lonely bunch :(
  9
  Th e adventurers see a tomb half-sunk in the 
  mud. Bas-reliefs of sub-human creatures 
  writhing around the mausoleum’s exterior 
  gives the viewer an uneasy feeling. Within, a 
  collection of miniaturized planets under glass 
  domes. Each one has its name etched upon a 
  brass plate. Are these real planets or movie-
  quality replicas? Is this the fate of Razira, 
  too? Can these planets be restored to normal 
  size? If so, how? Tune in next week. Actually, 
  just make something up. I won’t be here next 
  week.
  10
  A group of humans calling themselves the 
  Nirvana Initiates have located a unique 
  pocket of electro-magnetic energy far below 
  the surface of Kelis. Th is could be the island’s 
  heart or what gives all three islands their je 
  ne sais quoi. Drilling down (approximately 
  100’) will cause Kelis to drown in an ocean of 
  oozing purple napalm that burns the skin and 
  probably turns humanoids into strange, cone-
  like beings from Alpha Centauri.
  6
  Pizza Pit! Yes, most of this pizza-serving 
  restaurant has somehow arrived on an island. 
  With the old Devil’s head logo and lightning 
  bolt, Pizza Pit is ready to take your money! 
  Within, there are booths upholstered with 
  cracked red pleather, yellowish-grey stuffi  ng 
  pushing through the cracks. Within a glass 
  case, several individual slices and full pizzas 
  with missing slices (pepperoni, sausage, and 
  cheese) sit under a heat lamp, orange grease 
  pooling upon the surface.
  Th ere’s a large cardboard sign advertising 
  Mountain Dew. Incidentally, that’s the only 
  fountain drink that still works. Adventurers 
  who imbibe 12 or more ounces of Mountain 
  Dew receive a 30 minute boost in energy 
  before crashing. Strangest of all, a half-
  demon (tiefl ing) named David works the cash 
  register. He doesn’t seem surprised to be here 
  or to see the adventurers. “Demon Dave” has 
  been making pizzas all his life and knows that 
  his pizza-making routine shall continue until 
  he’s no longer able to toss the dough.
  7
  Upon a hilltop, the party sees a ghostly pale 
  bride wearing a lavender dress; her arms 
  outstretched as if pleading for some kind of 
  mercy, her face is hidden by a similar-colored 
  veil.
  Under the veil, she actually has no face… only 
  a blank, porcelain surface devoid of humanoid 
  features. Th ose att empting to interact with 
  her eventually notice the edges of a 3” square 
  appearing in the center of where her face 
  should be. Th e square opens like a litt le door. 
  Inside: nothingness; black space reaching 
  into eternity.
  Th e rest of her can, of course, be used as either 
  a fl otation or sexual device (she’s anatomically 
  correct)… such fetishistic objectifi cation 
  could be used to heighten the eff ect of certain 
  spells.
  
   98 
  Bekt – you
  Bektz – your, belonging to you
  Besya – council, ministry
  Bey – pure, purity
  Blask – pulpy, meaty bulbous
  Bnae – wet, liquifi ed
  Byzt – old, learned, ancient
  B’zin – art, artist, artistic
  Bzol – question
  C
  Calaa – fi endish, nefarious
  Canak – macabre, morbid, death, deathlike
  Chakra – center, central
  Chn – glowing, luminous
  Cho – skin, fl esh
  Cikah’neshra – xenolith
  Cohm – sitt ing, kneeling, prone
  Cora – persistent, tenacity
  Coroza – stain, stained, marking
  Crom – twilight, dusk, dawn
  Cyaz – work, eff ort, responsibility
  C’zhan – Godlike
  D
  D’ – on, upon, above
  Daera – enduring, sustainable
  Darb – taste, taster, tasting, savory
  Daw – beloved, loved one
  Delgado – create, creation, creating
  Deg – beneath, under, fundamental
  Deth – layer, layered, layering
  Dhim – protection, guardianship, conservation
  Viridian
  Viridian
  Th is section includes a magical language I created a few years 
  ago called Viridian or the green tongue.  Make as much use of 
  it as possible.  You never know when strange sounding words 
  will come in handy.
  A
  A’ – cold, emotionless
  Abva – lubricated, lubrication, greasing
  Acal – we
  Adorahk – infect, infected, infecting
  Ahjhan – vibration, resonance
  Ahmar – blood, bloody
  Ahraev – formless, disembodied, incorporeal
  Ak – is to be, destined
  Angekok – wizard priest
  Ankor – distort, distorted, misconstrue
  Anth – dark, darkness
  Apreth – to do, doing, done
  Arnsht – man
  Arrh – distance, range, restraint
  Ashith – knowledge, information, raw data
  Asqulund – octave, returning to the root, symmetry
  Astor – community, communal
  Atahe – octopoidal, squid like
  Ateen – black motives
  Athik – symbol, symbolic
  Azo – a, an
  B
  Babilya – kneeling
  Bahl – sleep, being asleep
  Baktah – intent, intentional, on purpose
  Barham – wormlike, low, base
  
   99 
  Fzopa – house, dwelling, abode
  G
  Gagh – abyss, gulf
  Gath – danger, dangerous, insecurity
  Gekta – torn, mutilate, split
  Gevlyvan – soon
  Gigphael – overgrown, thick, wild
  Glith – arrival, approach
  Gmahkshaul – love, appreciation
  Gontara – desire, lust, craving
  Gorah – worthless, abandoned
  G’pock – cryptic, obscure
  Groag – demon, demonic
  G’th – noble, aristocratic
  Gyalo – exploitation, perversion
  H
  H’ – privileged
  Haiasi – fortune telling, oracle
  Haji – desert, desolate, barren
  Hath – give, given, gave
  Hashtan – complexity, intricate
  Heb – combination, aggregate
  Hek – womanizer, using women to satisfy one’s needs
  Hesh – honored, close, valued
  Hijab – modest, modesty
  Hivnoht – scale
  Hizrek – fi ghting, combat, contest
  Hob – chance, risk, accidental
  Hohgth – astral
  Holit – fi re, fl ame, inferno
  Hzail – female, feminine
  Dorate – skull
  Doxa – honor, honorable
  Draegor – ninth
  Drekth – hideous, disgustingly terrifying
  Dsheeva – lies, dishonesty, falsehood
  D’tort – yellowish
  E
  Ebonai – carnival, circus, chicanery, trickery
  Ebth – cancer, cancerous
  Eeyash – exotic, unfamiliar
  Ellisa – nasty, dirty
  Elubrae – majority, bulk, assembly
  Erain – machine, mechanical
  Esbara – predestined, providence, prearranged
  Eska – buzzing, howling
  Est – religious, religion, spiritual
  Etbrae – nameless, indescribable
  E’visht – starry, from the stars
  Eznet – vicious, ferocious, depraved
  Ezra – brief, subtle, short
  F
  Fena – inconsolable, comfortless, discouraging
  F’eid – magician
  F’eidal – magi
  Fhal – awful
  Fley – beautiful, lovely, gorgeous
  Fornu – stone, rock
  Fsirie – power
  F’thoad – momentary awareness, being aware of every 
  moment
  Fyayack – because
  
   100 
  Jzarkash – deep, profound, subterranean
  Jzentkal – nubile
  K
  Kafj ’th – shining, iridescent
  Kai – nightmare, nightmarish
  Kaiul – essential elements, nucleus
  Kaizen – constant improvement
  Kalool – interpretation, interpretive
  K’ara – divine, Godhood, absolute
  Kashto – overfl owing, fl ood, submerge
  Kava – beckon, summoning, call
  Kaynin – restless sleep
  Kesh – passion, strong emotion, suff ering
  Khkt – master
  Konza – degenerate, decadent
  Kort – eldritch, alien, dread, Lovecraft ian, Cthulhuesque
  Koth – shell, vessel, structure
  Kriet – unknown
  Kshta – elastic, fl exible, malleable
  K’theen – wandering, pilgrimage, deviation
  Kurket – zeitgeist
  K’zin – beyond
  L
  La’ – patient, enduring
  L’ahn – wearied, disheartening
  Levmin – present, moment
  Li – festering, rott ing, spoil
  L’gorva – corpulent, obese, heavy
  Loth – spiritual, intangible
  Lozrean – joke, amusement
  Lurvenyan – greetings, compliment, gratitude
  I
  Ia – yes, hail, triumphant
  Iagga – beast, bestial, brute
  Ibtorka – inatt entive, unobservant
  Igrog – unspeakable, speechless
  Ijad – language, linguistic
  Ikest – rehearsed, practiced, prepared
  Ikss – illicit, criminal
  Ilt – calm, tranquil
  Inha – the
  Ipshae – current, stream, fl ow, river, torrent
  Iredo – feline, catlike
  Irryd – lawless, heretic, renegade, rogue
  Ishliem – submission
  Islingvyr – eternity, everlasting, immortal
  Isqua – fungi, fungus, decay
  Ith – savage, barbaric
  Ivsha – whispering, murmur, secretive voice
  Iyath – struggle, batt le
  Izkagrectchort – unifi cation
  Izratan – temple
  J
  Jahorv – many, multiple, majority
  Jeem – tentacles
  Jezir – leadership, authority
  Jith – betrayal, treachery
  Ji’zahd – strive, pursue
  J’kasan – transcendent, abstract, sublime
  Jorath – curse, death magic
  Joznara – zealotry, preach, conviction
  Jush – aborted, abortion
  
   101 
  
   102 
  Orrat – reasonable, diplomatic, diplomacy, mediator
  Ot – of, from, with, by
  Ozra – will be
  P
  Pahreji – voluptuous, curvy
  Paz – and
  Pesha – do, shall, can
  Ph’n – ineff able
  Piamel – textured, texture, patt ern
  Pilada – wisdom, wise, insight
  Plirak – steal, thievery
  Povlesht – intuitive, viscerous, instinctive
  P’reji – beyond
  Pyrath – tendency, disposition, habit
  Q
  Q’
  Q’ – profane, crude, disrespectful
  Qaqua – in, inside, within
  Qev – voluminous
  Qortenth – hope, longing, ambition
  Qulornok – orgy, orgiastic, group sex
  Qureth – pregnant, ready to give birth
  Qxon – with
  Qzosh – infl uence
  R
  Ra – serve, servant, serving
  Rahm – serpentine, winding
  Reeri – gateway, portal
  Respa – murder, slaying
  R’han – design, plan, arrangement
  Ritee – chaos, chaotic
  Rivdgian – gnosis from an alien source, the chartreuse hue 
  Lut – devoted, devotion
  Lybstok – this, that
  M
  Mada – weird
  Mansk – fortuitous, unforeseen
  Mek – crystal, crystallization
  Mhira – gibber, gibbering, babble, yammer
  M’oath – introduction, baptism
  M’seth – tedious, monotonous, tiresome
  M’zathrinah – lord
  N
  Naal – night, knighted
  Namor – envelope, enveloping, container, cloak
  Nath – trinity, triad, trichotomy
  Neft h – dream, vision
  Nekpa – minority, few, handful
  Nesh – existence, being, substance
  Nect – traveler, journeyman
  Neth – potency, capacity, essence
  Noch – will, intention, directed consciousness
  Noco – uncertain
  Noxqua – outer, outside, without
  N’thsoon – ooze, oozing, oozed, slime, slimy
  Nuszeth – black
  Nygh – slither, slithered, slithering
  Nylvor – exalt, praise, show thanks
  O
  O’krn – shadow, shade
  Onah – defense, defensive
  Oola – is
  Oolo – are
  
   103 
  U
  Ubath – supposedly, hypothetically
  Ulth – zero
  Umla – sad, saddened
  Uoon – continue, continual, continuance
  Urdzan – speak, speech, say
  Urvoon – massacre, bloodbath, carnage
  Usib – psychology, mental state
  U’zahd – collective, group
  V
  V’ – colorful, full of dancing hues
  Vathik – early, earliest
  Vaurelar – handful
  Vazn – hallucinogen
  Verins – unnatural, preternatural
  Vhrat – how, in what way
  Vhtrun – tell, pronounce, proclaim
  Vib – that, this, these, those
  Voraxith – Prisoner
  Vos – triangular, pyramidal, tertiary
  Vrk – sexy, alluring
  Vul – self-eff acing
  Vzahl – teach, instruct
  W
  Wai – mentor, teacher
  Wgah – please, pleased, pleasing
  Whorgt – ultimate, fi nal
  Withrazshykt – inner, interior, esoteric, secret, unseen
  Wosk – necessary, necessity
  W’teen – time, temporal, temporary
  Wyahzu – respect, esteem, admiration
  of the void
  Rossa – ancestry, ancestor
  R’zith – personal glory
  S
  Sabt – clear, translucent
  Sahn – independence, independent
  Serbahk – quantum
  Shanta – turbulent, shaky, agitated
  Sharaz – unseen horror, hidden terror
  Shenth – subjective, personal
  Shtort – glisten, glistening
  Sigth – madness, insanity
  Siknar – revelation, apocalypse, prophecy
  Smahk – estranged
  Soba – poison, poisonous
  Sooprune – enchantment, enchanted
  Stret – command, ordered, charged with
  Swib – ceremony, ritual
  T
  Talek – consciousness
  Tahn – matt er, seemingly real, illusionary layers
  Tevik – zone
  Th alis – infernal, order, cult, organization, bring together, 
  manifest
  Th an – pale
  Th orna – stealth, stealthy
  Th oth – sorcery, sorcerous
  To’et – thin, narrow
  Tornasuk – supreme elder Devil, Satanic fi gure, or Satan
  T’zahr – oblivion
  
   104 
  
   105 
  Zuun – our, belonging to us
  *  *  *
  A
  A, an – azo
  Abode – fzopa
  Aborted, abortion – jush
  Above (also on, upon) – d’
  Abstract (also sublime, transcendent) – j’kasan
  Abyss – gagh
  Activation – zaalt
  Admiration – wyahzu
  Aggregate (also combination) – heb
  Alien – kort
  Alliance – yathizka
  Alluring (also sexy)- vrk
  Ancestry, ancestor – rossa
  Ancient (also old, learned) – byzt
  Appetite (also feasting) – xor
  Appreciate – gmahkshaul
  Ardent (also constant, faithful) – yith
  Are – oolo
  Arrangement (also design, plan) – r’han
  Arrival, approach – glith
  Art, artist, artistic – b’zin
  Assassinate (kill in secret, suppress) – xultur
  Assembly (also majority, bulk) – elubrae
  Assumption (also opinion) – zazigor
  Astral – hohgth
  Authority (also leadership) – jezir
  Awake, awakening – zaalt
  Awful – fh al
  X
  X’ – menace, menacing
  Xan – tropical, jungle
  Xestria – evolve, develop, synthesize
  Xhith – bless, blessed, blessing
  Xoqtan – have, has
  Xor – feast, feasting, appetite
  Xultur – assassinate, kill in secret, supress
  Y
  Y’ – welcome, open
  Yahz – who, what, when, where, why
  Yath – brother
  Yathizka – brotherhood, alliance, union
  Ydan – frozen, freeze, freezing
  Yeth – ghoul, ghoulish
  Yev – key, crucial, pivotal
  Yidathroth – reconciliation, harmony, balance
  Yith – faithful, ardent, constant
  Yzrai – squirming, seeping
  Z
  Zaalt – awake, awakening, activation, rise, stimulate
  Zamiel – inclusive
  Zazigor – opinion, assumption
  Zelt – understand, understanding, understood
  Z’gaht – ziggurat
  Zinjun – line, crossroad, divergence, intersection
  Zirna – dark
  Zishred – conscious
  Zodul – red, crimson
  Zohzst – prophecy, prophetic, prophet
  Z’tari – fantasy, imagination
  
   106 
  Bulk (also assembly, majority) – elubrae
  Buzzing (also howling) – eska
  C
  Call – kava
  Calm (also tranquil) – ilt
  Can – pesha
  Cancerous – ebth
  Capacity (also potency, essence) – neth
  Carnage – urvoon
  Catlike (also feline) – iredo
  Center, central – chakra
  Ceremony (also ritual) – swib
  Chance – hob
  Chaos, chaotic – ritee
  Chartreuse hue of the void, the (also gnosis from an alien 
  source) – rivdgian
  Chicanery (also trickery) – ebonai
  Clear (also translucent) – sabt
  Cloak (also container, envelope, enveloping) – namor
  Close (also honored, valued) – hesh
  Cold (also emotionless) – a’
  Collective (also group) – u’zahd
  Colorful – v’
  Combat – hizrek
  Combination (also aggregate) – heb
  Comfortless (also inconsolable, discouraging) – fena
  Command, ordered, charged with – stret
  Community, communal – astor
  Complexity (also intricate) – hashtan
  Compliment – lurvenyan
  Conscious – zishred
  B
  Babble (also yammer, gibber, gibbering) – mhira
  Balance – yidathroth
  Baptism (also introduction)– m’oath
  Barbaric (also savage) – ith
  Barren (also desert, desolate)- haji
  Base (also wormlike, low)- barham
  Batt le (also struggle) – iyath
  Beautiful, lovely, gorgeous – fl ey
  Because – fyayack
  Beckon – kava
  Being (also existence, substance) – nesh
  Being asleep (also sleep)- bahl
  Belonging to us (also our) – zuun
  Belonging to you (also your) – bektz
  Beloved – daw
  Beneath (also fundamental) – deg
  Bestial, beast like – iagga
  Betrayal (also treachery) – jith
  Beyond – k’zin
  Beyond – p’reji
  Black – nuszeth
  Black motives – ateen
  Blessed – x’hith
  Blood – ahmar
  Bloodbath – urvoon
  Brief (also subtle, short) – ezra
  Bring Together – thalis
  Brother – yath
  Brotherhood – yathizka
  Bulbous (also pulpy, meaty) – blask
  
   107 
  Design (also plan, arrangement) – r’han
  Desire – gontara
  Desolate (also desert, barren) – haji
  Destined (also is to be)- ak
  Develop (evolve, synthesize) – Xestria
  Deviation (also wandering, pilgrimage) – k’theen
  Devil (supreme elder Devil) or Satan – tornasuk
  Devoted, devotion – lut
  Dirty (also nasty) – ellisa
  Discouraging (also inconsolable, comfortless) – fena
  Disheartening (also wearied) – l’ahn
  Dishonesty – dsheeva
  Distance (also range, restraint) – arrh
  Distort, distorted (also misconstrue) – ankor
  Divergence – zinjun
  Divine – k’ara
  Do – pesha
  Doing, done, to do – apreth
  Dread (dreaded) – kort
  Dream (also vision) – neft h
  Dwelling – fzopa
  E
  Early, earliest – vathik
  Eff ort – cyaz
  Elastic (also fl exible, malleable) – kshta
  Eldritch – kort
  Emotionless (also cold) – a’
  Enchantment, enchanted – sooprune
  Enduring (also patient) – la’
  Enduring (also sustainable) – daera
  Envelope, enveloping (also container, cloak) – namor
  Consciousness – talek
  Conservation (also protection, guardianship) – dhim
  Constant (also faithful, ardent)- yith
  Container (also cloak, envelope, enveloping) – namor
  Continue, continual – uoon
  Corpulent (also obese, heavy) – l’gorva
  Council (also ministry) – besya
  Creation – delgado
  Criminal (also illicit) – ikss
  Crimson (also red)- zodul
  Crossroad – zinjun
  Crucial (also key, pivotal) – yev
  Cryptic (also obscure) – g’pock
  Crystal, crystallization – mek
  Cthulhuesque (pertaining to / of Cthulhu) – kort
  Cult – thalis
  Current – ipshae
  Curse (also death magic) – jorath
  D
  Danger, dangerous (also insecurity) – gath Dark – anth
  Dark – zirna
  Death (also deathlike, macabre) – canak
  Death magic (also curse) – jorath
  Decadent (also degenerate) – konza
  Decay (also fungi, fungus) – isqua
  Deep – jzarkash
  Defense, defensive – onah
  Degenerate (also decadent) – konza
  Demon, demonic – groag
  Depraved (also vicious, ferocious)- eznet
  Desert (also desolate, barren) – haji
  
   108 
  
   109 
  From (also of) – ot
  From the stars (also starry) – e’visht
  Frozen, freezing – ydan
  Fundamental (also beneath)- deg
  Fungi, fungus (also decay) – isqua
  G
  Gateway (also portal) – reeri
  Ghoulish – yeth
  Gibber, gibbering (also babble, yammer) – mhira
  Give, given – hath
  Glistening – shtort
  Glowing (also luminous) – chn
  Gnosis from an alien source (also (the) chartreuse hue of 
  the void) – rivdgian
  Godlike – c’zhan
  Gorgeous (also beautiful, lovely)- fl ey
  Gratitude – lurvenyan
  Greasing (also lubricated, lubrication) – abva
  Greetings – lurvenyan
  Group (also collective) – u’zahd
  Guardianship (also protection, conservation) – dhim
  H
  Hail (also yes, triumphant) – ia
  Hallucinogen – vazn
  Handful – vaurelar
  Handful (also minority, few) – nekpa
  Harmony – yidathroth
  Have, has – xoqtan
  Heavy (also corpulent, obese) – l’gorva
  Heretic – irryd
  Hideous – drekth
  Esoteric – withrazshykt
  Essence (also potency, capacity) – neth
  Essential elements (also nucleus) – kaiul
  Esteem – wyahzu
  Estranged – smahk
  Eternity, everlasting – islingvyr
  Evolve, evolution (develop, synthesize) – Xestria
  Exalt – nylvor
  Existence (also being, substance) – nesh
  Exploitation (also perversion) – gyalo
  Exotic (also unfamiliar) – eeyash
  F
  Faithful (also ardent, constant) – yith
  Falsehood – dsheeva
  Fantasy (also imagination) – z’tari
  Feasting (also appetite) – xor
  Feline (also catlike) – iredo
  Female, Feminine – hzail
  Ferocious (also vicious, depraved) – eznet
  Festering (also rott ing, spoil) – li
  Few (also minority, handful) – nekpa
  Fiendish – calaa
  Fight, fi ghting – hizrek
  Fire, fl ame – holit
  Flesh (also skin) – cho
  Flexible (also elastic, malleable) – kshta
  Flood (also overfl owing, submerge) – kashto
  Flow (also stream, river, torrent) – ipshae
  Formless – ahraev
  Fortuitous (also unforeseen) – mansk
  Fortune telling (also oracle) – haiasi
  
   110 
  Intuitive (instinctual) – povlesht
  In what way (also how) – vhrat
  Iridescent (also shining)– kafj ’th
  Is – oola
  Is to be (also destined) – ak
  J
  Joke (also amusement) – lozrean
  Journeyman (also traveler) – nect
  K
  Key (also crucial, pivotal) – yev
  Kill in secret (assassinate, suppress) – xultur
  Kneeling – babilya
  Kneeling (also sitt ing) – cohm
  Knighted (also night) – n’
  Knowledge – ashith
  L
  Language, linguistic – ijad
  Lawless – irryd
  Layered, layers – deth
  Leadership (also authority) – jezir
  Learned (also old, ancient) – byzt
  Lies – dsheeva
  Line – Zinjun
  Liquefi ed (also wet) – bnae
  Lord – M’zathrinah
  Love – gmahkshaul
  Lovecraft ian – kort
  Lovely (also beautiful, gorgeous) – fl ey
  Low (also wormlike, base) – barham
  Lubricated, lubrication (also greasing) – abva
  Luminous (also glowing)- chn
  Honor, honorable – doxa
  Honored (also close, valued) – hesh
  Hope (also longing and ambition) – Qortenth
  House – fzopa
  How (also in what way) – vhrat
  Howling (also buzzing) – eska
  Hypothetically (also supposedly) – ubath
  I
  Illicit (also criminal) – ikss
  Imagination (also fantasy)– z’tari
  Immortal – islingvyr
  Improvement (subtle and constant) – kaizen
  In (inside) – qaqua
  Inatt entive (also unobservant) – ibtorka
  Inclusive – zamiel
  Inconsolable (also comfortless, discouraging) – fena
  Independence, independent – sahn
  Ineff able – ph’n
  Infected – adorahk
  Infernal – thalis
  Infl uence – Qzosh
  Inner (interior) – withrazshykt
  Insanity (also madness) – sigth
  Insecurity (also danger, dangerous) – gath
  Insight (also wisdom, wise) – pilada
  Intangible (also spiritual)- loth
  Intent, intentional – baktah
  Interpretation – kalool
  Intersection – zinjun
  Intricate (also complexity) – hashtan
  Introduction (also baptism) – m’oath
  
   111 
  Narrow (also thin) – to’et
  Nasty (also dirty) – ellisa
  Necessity – wosk
  Night (also knighted) – naal
  Nightmarish – kai
  Ninth – draegor
  Noble – g’th
  Nubile – jzentkal
  Nucleus (also essential elements) – kaiul
  O
  Obese (also corpulent, heavy) – l’gorva
  Oblivion – t’zahr
  Obscure (also cryptic) – g’pock
  Octave – asqulund
  Octopoidal (also squid like) – atahe
  Of (also from) – ot
  Old (also learned, ancient) – byzt
  On (also upon, above) – d’
  Ooze (also oozed, oozing, slime, slimy) – n’thsoon
  Opinion (also assumption) – zazigor
  Oracle (also fortune telling) – haiasi
  Order – thalis
  Organization – thalis
  Orgy, orgiastic (also group sex) – qulornok
  Our (also belonging to us) – zuun
  Outer (outside) – noxqua
  Overfl owing (also fl ood, submerge) – kashto
  Overgrown (also thick, wild) – gigphael
  P
  Pale – than
  Passion (also strong emotion, suff ering) – kesh
  M
  Macabre (also deathlike) – canak
  Machine (also mechanical) – erain
  Madness (also insanity) – sigth
  Magi – f’eidal
  Magician – f’eid
  Majority (also bulk, assembly) – elubrae
  Malleable (also elastic, fl exible) – kshta
  Man – arnsht
  Manifest – thalis
  Many (also multiple) – jahorv
  Massacre (also bloodbath, carnage) – urvoon
  Master – khkt
  Matt er – than
  Meaty (also pulpy, bulbous) – blask
  Menacing – x’
  Mental state (also psychology) – usib
  Mentor (also teacher) – wai
  Ministry (also council)- besya
  Minority (also few, handful) – nekpa
  Misconstrue (also distort, distorted) – ankor
  Modesty – hijab
  Moment – levmin
  Momentary awareness – f’thoad
  Monotonous (also tedious, tiresome) – m’seth
  Multiple (also many) – jahorv
  Murder (also slaying) – respa
  Murmur (also whispering, secretive voice) – ivsha
  Mutilate (also torn, split) – gekta
  N
  Nameless – etbrae
  
   112 
  Question – bzol
  R
  Range (also distance, restraint) – arrh
  Reasonable – orrat
  Reconciliation – yidathroth
  Red (also crimson) – zodul
  Rehearsed (also practiced, prepared) – ikest
  Religious, religion – est
  Renegade – irryd
  Resonance (also vibration) – ahjhan
  Respect – wyahzu
  Responsibility – cyaz
  Restless sleep – kaynin
  Restraint (also distance, range) – arrh
  Returning to the root – asqulund
  Revelation (also apocalypse and prophecy) – siknar
  Rise – zaalt
  Risk – hob
  Ritual (also ceremony) – swib
  River (also stream, fl ow, torrent) – ipshae
  Rock (also stone) – fornu
  Rogue – irryd
  Rott ing (also festering, spoil) – li
  S
  Saddened – umla
  Savage (also barbaric) – ith
  Savory (also taste) – darb
  Scale – hivnoht
  Secret – withrazshykt
  Secretive voice (also whispering, murmur) – ivsha
  Self-eff acing – vul
  Patient (also enduring) – la’
  Patt ern (also textured, texture) – piamel
  Personal glory – r’zith
  Persistent (also tenacity) – cora
  Perversion (also exploitation) – gyalo
  Pilgrimage (also wandering, deviation) – k’theen
  Pivotal (also key, crucial) – yev
  Plan (also design, arrangement) – r’han
  Pleased, pleasing – wgah
  Poison, poisonous – soba
  Portal (also gateway) – reeri
  Potency (also capacity, essence) – neth
  Power – fsirie
  Practiced (also rehearsed, prepared) – ikest
  Praise – nylvor
  Predestined – esbara
  Pregnant – qureth
  Prepared (also rehearsed, practiced) – ikest
  Present – levmin
  Prisoner – voraxith
  Privileged – h’
  Profane – q’
  Profound – jzarkash
  Pronounce (also proclaim) – vhtrun
  Protection (also guardianship, conservation) – cora
  Psychology (also mental state) – usib
  Pulpy (also meaty, bulbous) – blask
  Pure, purity – bey
  Pursue (also strive) – ji’zahd
  Q
  Quantum – serbahk
  
   113 
  Shall – pesha
  Shell (also vessel, structure) – koth
  Shining (also iridescent) – kafj ’th
  Short (also brief, subtle) – ezra
  Show thanks – nylvor
  Sitt ing (also kneeling) – cohm
  Serpentine (also winding) – rahm
  Servant (also serving) – ra
  Serving (also servant) – ra
  Sexy (also alluring) – vrk
  Shade (also shadow) – o’krn
  Shadow (also shade) – o’krn
  
   114 
  Subterranean – jzarkash
  Subtle (also brief, short) – ezra
  Suff ering (also passion, strong emotion) – kesh
  Summoning – kava
  Supposedly (also hypothetically) – ubath
  Suppress (assassinate, kill in secret) – xultur
  Sustainable (also enduring) – daera
  Symbol, symbolic – athik
  Symmetry – asqulund
  Synthesize (evolve, develop) – Xestria
  T
  Taster – darb
  Teach – vzahl
  Teacher (also mentor) – wai
  Tedious (also monotonous, tiresome) – m’seth
  Tell – vhtrun
  Temple – izratan
  Tenacity (also persistent) – cora
  Tendency (also disposition and habit) – pyrath
  Tentacles – jeem
  Textured, texture (also patt ern) – piamel
  Th at (also this) – lybstok
  Th at (also this, these, those) – vib
  Th e – inha
  Th ese (also this, that, those) – vib
  Th ick (also overgrown, wild) – gigphael
  Th ievery (also steal) – plirak
  Th in (also narrow) – to’et
  Th is (also that) – lybstok
  Th is (also that, these, those) – vib
  Th ose (also this, these, that) – vib
  Skin (also fl esh) – cho
  Skull – dorate
  Slaying (also murder) – respa
  Sleep (also being asleep) – bahl
  Slime – n’thsoon
  Slithering – nygh
  Soon – gevlyvan
  Sorcerous – thoth
  Speak (speech, say) – Urdzan
  Speechless (also unspeakable) – igrog
  Split (also torn, mutilate) – gekta
  Spiritual (also intangible) – loth
  Spoil (also festering, rott ing) – li
  Squid like (also octopoidal) – atahe
  Squirming, seeping – yzrai
  Stained – coroza
  Starry (also from the stars) – e’visht
  Stealth, stealthy – thorna
  Steal (also thievery) – plirak
  Stimulate – zaalt
  Stone (also rock) – fornu
  Stream (also fl ow, river, torrent) – ipshae
  Strive (also pursue) – ji’zahd
  Strong emotion (also passion, suff ering) – kesh
  Structure (also vessel, shell) – koth
  Struggle (also batt le) – iyath
  Subjective – shenth
  Sublime (also transcendent, abstract) – j’kasan
  Submerge (also overfl owing, fl ood) – kashto
  Submission – ishliem
  Substance (also existence, being) – nesh
  
   115 
  Time – w’teen
  Tiresome (also monotonous, tedious) – m’seth
  To do – apreth
  Torn (also mutilate, split) – gekta
  Torrent (also stream, fl ow, river) – ipshae
  Tranquil (also calm) – ilt
  Transcendent (also abstract, sublime) – j’kasan
  Translucent (also clear) – sabt
  Traveler, journeyman – nect
  Treachery (also betrayal) – jith
  Triangular – vos
  Trickery (also chicanery) – ebonai
  Trinity, triad – nath
  Triumphant (also yes, hail) – ia
  Tropical – xan
  Turbulent – shanta
  Twilight – crom
  U
  Ultimate – whorgt
  Uncertain – noco
  Unfamiliar (also exotic) – eeyash
  Unforeseen (also fortuitous)- mansk
  Unifi cation – izkagrectchort
  Union – yathizka
  Unknown – kriet
  Unnatural – verins
  Unobservant (also inatt entive) – ibtorka
  Unseen horrors – sharaz
  Unspeakable (also speechless) – igrog
  Upon (also above, on) – d’
  V
  Valued (also honored, close) – hesh
  Vessel (also shell, structure) – koth
  Vibration, resonance – ahjahn
  Vicious, ferocious, depraved – eznet
  Viscerous – povlesht
  Vision (also dream) – neft h
  Voluminous – qev
  Voluptuous – pahreji
  W
  Wandering (also pilgrimage, deviation) – k’theen
  We – acal
  Wearied (also disheartening) – l’ahn
  Weird – mada
  Welcome – y’
  Wet (also liquefi ed) – bnae
  Whispering (also murmur, secretive voice) – ivsha
  Who (what, where why, when) – yahz
  Wild (also overgrown, thick) – gigphael
  Will – noch
  Will be – ozra
  Winding (also serpentine) – rahm
  Wisdom (also wise, insight) – pilada
  Wise (also wisdom, insight) – pilada
  With – qxon
  Within – qaqua
  Without – noxqua
  Wizard Priest – angekok
  Womanizer – hek
  Work – cyaz
  Wormlike (also low, base) – barham
  Worthless - gorah
  
   116 
  X
  Xenolith – cikah’neshra
  Y
  Yammer (also gibber, gibbering, babble) – mhira
  Yellowish – d’tort
  Yes (also hail, triumphant) – ia
  You – bekt
  Your (also belonging to you) – bektz
  Z
  Zealotry – joznara
  Zeitgeist – kurket
  Zero – ulth
  Ziggurat – z’gaht
  Zone – tevik
  
   117 
  
   118 
  Afterword
  Afterword
  Keep paper and pencil roleplaying games evil!  Th ere, I said 
  it.
  Ok, perhaps not actually “evil” per se, but anything that is 
  beyond good or evil will surely be regarded as evil, dangerous, 
  Satanic, and so forth by the ignorant masses.  Th ey have such 
  a diffi  cult time understanding the third side, not to mention 
  the Devil’s Prism.  
  Personally, I’d rather embrace that perception than water 
  RPGs down.  Th is hobby is more than a pleasant and safe 
  diversion for teenagers.  It’s analog virtual reality!  Don’t 
  sanitize it and, by the gods, don’t you dare underestimate 
  the value of RPGs.  Squandering their potential might be the 
  greatest sin of all.  
  Well, this is the end.  I hope you’ve enjoyed my book.  More 
  importantly, I hope you fi nd it useful.  If you do, then please 
  don’t hesitate to send me an email, talk about it with friends, 
  blog about it, mention it on forums, or even write a review.
  Along with this book, I’ve also writt en the following:  
  Liberation of the Demon Slayer, Th e Islands of Purple-
  Haunted Putrescence, and Revelry in Torth.  By the time this 
  comes out, I’ll probably be working on Th e Outer Presence 
  and Alpha Blue.  
  Besides working on my own stuff , I’d love to see yours!  I’m 
  available as an RPG consultant; providing my three cents 
  regarding your product… should you desire my consultant 
  services.  From now until the end of 2016, I’m charging $1 
  per page (25$ minimum).  For that, I’ll read what you’ve got 
  and tell you what I think, along with my thoughts on how to 
  improve it.  
  See you on the other side,
  VS
  
   119 
  
   120 
  
   121 
  
  As my wife is fond of telling me, I don’t have hobbies.  I have obsessions.  
  She’s right, of course.  I don’t just run a weekly game and leave it at 
  that, I turn each session over in my mind... encounters, characters, 
  descriptions, environments, themes, gaming aids, etc.  I examine every 
  square inch of the campaign until it has been checked and double-
  checked.  I’m not only looking for weak spots but points of strength and 
  golden opportunities.  Why?  Because I have a screw loose.  Probably a 
  bunch of them.
  Becoming the best Game Master in the world (at least the best I can be) 
  is my latest and greatest goal.  It’s what I was put on this earth to do.  
  It’s my destiny.  My obsession is not simply a manifestation of will.  It 
  has taken practice, study, discipline, and the application of unorthodox 
  theories.  One must experiment with a wide variety of variables, testing 
  and re-testing.
  Originally, this book was meant only for me; a collection of secrets that 
  I could refer back to time and time again.  But wouldn’t it be selﬁ sh to 
  keep that lore all to myself?  Why not teach my discovery, allowing my 
  insanity to illuminate Game Masters throughout the world?  You hold 
  in your hands a chronicle of my journey: the Draconic Method.  Thirty 
  years of Game Mastering knowledge is now at your disposal.  Use it 
  wisely... or don’t.  I don’t really give a fuck.
  Kort’thalis Publishing
  Kort’thalis Publishing
  
SOURCE: textdata/thevault/_GM Books/World Building & Game Design/Like a Fucking Boss/Kort'thalis Publishing - How to Game Master Like a Fucking Boss.pdf