How to Design a Custom TRPG

Much of the world of TRPGs--and much of this site, for that matter--is about Dungeons & Dragons. But there are many other games out there which provide different experiences for players, both well-known in the world of TRPGs and relatively unknown. What matters with a TRPG system is that the game's rules support the type of experience you want your players to have. And you can create your own system to meet the needs of your campaign and your players with a bit of time and attention; all it takes is thinking about what the players should experience. Read on for a guide to designing your own tabletop roleplaying game. 

I personally have created two tabletop games from scratch. I want to keep my descriptions of them here minimal, as I want to be able to retain publishing rights for later, but I will provide examples by way of these games in addition to directing the creation of a brand new TRPG system, one which revolves around the solving of mysteries (something near and dear to my heart). The first step is to devise a setting. You want something that is somewhat unique. For my first custom TRPG, which I call Algernon's Tower, I wanted a high-flying, spectacular combat system that allowed the players to creatively use their abilities. So Algernon's Tower is about combat, and in order to provide a variety of settings to enrich combat, I set the game in a dizzying tower where each floor of the tower provides a different setting: a lava level, an Old West level, a creepy museum level, etc. The second game I created I call A Time and Place, and it is dedicated to the concept of time travel; players choose a time and place from a set of options and can play sessions in three different time periods in that setting, trying to use time manipulation to creatively solve problems. The game is supposed to feature the setting heavily, so I chose places and time periods that would be broadly appealing, such as 1750s London or 1870s San Francisco. Finally, we have our to-be-designed system involving a mystery concept--we want a unique setting that also serves the mystery format. We might choose Victorian England for the game, casting it as a classic Sherlock Holmes-style game. We might similarly choose 1930s America and run a film noir-style campaign. But for the sake of making something that is more unique, let's pick a less reality-based setting. I am going to go with 1970s California; that way, we get a more modern setting that still doesn't have the narrative-destroyer that is the cell phone, and the setting is broad enough that practically any story could fit into it. 

Next, we need to consider win conditions and lose conditions. For some games, this is simple: as in Algernon's Tower, winning means being the best at combat, and losing means being defeated. It's more nebulous for A Time and Place; the GM will select a certain condition for winning, like "prevent such-and-such disaster from happening," and the players win when they prevent it; because the players can time travel, there is no such thing as a real loss condition, only more time spent trying to solve the problem. For the mystery system, which we'll call Truths for Sleuths (TfS) from here out, we need to know how the players win or lose. Let's say that the players must solve the crime correctly before a certain deadline in order to win; dying, identifying the wrong suspect as the perpetrator, or running out of time constitutes losing the campaign. 

Then we get to my favorite part of the design process: mechanics. This may be a surprise for regular readers of this site; I am a very storytelling-and-roleplaying focused GM, so designing numerical values is not exactly my wheelhouse. But it is very fun to determine mechanics because this is where your game really comes to life. You decide in this step how the players engage with challenges, and that means a great deal to the players. There are two main elements to the mechanics you'll need: player abilities and game mechanics. Let's start with abilities. 

In Algernon's Tower, players are outfitted almost entirely along the lines of combat. I created a series of five attributes (Strength, Dexterity, Knowledge, Thought, and Socialization) with five skills under each attribute (hit points and melee weapons under Strength, reading others and screen presence under Socialization). [Screen Presence refers to the fact that the fights in Algernon's Tower are broadcast live on television, and there is a mechanic whereby players advance through their powers by attracting more viewers.] Between these 25 skills, every action in combat should be represented. This is a system, which like most TRPGs, has a set selection of skills that the player chooses proficiency in. Your system doesn't have to work like that, though: in A Time and Place, the players choose their own skills altogether. It's a relatively simple system. Each player starts with a pyramid, with one slot at the top, two on the next rung, three on the next, and all the way down the the bottom. The pyramid has six rungs--one for each type of dice included in a standard set. The player places their most proficient skill in the top rung and rolls a d20 for it; the two next-most skilled areas go on the next rung down and roll d12s for their checks, and so on down the line. Players can choose any skill they choose; the more specific, the greater their successes, and the more broad, the lesser their successes (all as a mechanism to balance narrow versus broad skills). Now we need to design the player abilities for TfS. 

The most important thing in designing player abilities is in asking how they serve the players. This means we need to be thinking about how people will actually play the game, and that means you'll probably need to playtest your game to ensure that you've covered everything. Before you get there, though, you have to make some educated guesses. Let's shoot for a system that's somewhere in between Algernon's Tower and A Time and Place, a system that allows the players to use an array of skills, but with enough structure to allow for the creation of unique characters. For that, let's have a small number of attributes to work with and a slightly larger collection of skills related to them. I'm imagining three overall detective archetypes with a handful of skills underneath them, perhaps four or so skills per archetype. Let's go ahead and fill in those details.

For our three archetypes for detectives, we want to represent different styles of investigation. The classics that jump to mind would be brawler (a detective who gets into scrapes and fights his way out, like Bigby Wolf in The Wolf Among Us), a smooth talker (a detective who uses their wit and charisma to solve crimes, like Columbo), and a sneak (a detective whose specialty is moving about undetected, like some versions of Batman). This gives us some range to let the players express themselves, but all while providing a framework that reinforces the game's design and setting. 

Now we want some skills that can be associated with each archetype. The archetypes won't be something that the players are forced to stick with--they can choose skills from all three archetypes without issue--but they represent pure images of detectives. We might choose to grant a player a bonus for choosing all of an archetype's skills, and we may not, depending on what we want out of the structure. I'm of the mind that it's better to not grant a bonus, as I want my players to choose skills that inform their characters rather than build super-effective characters. So let's go ahead and create four skills for each archetype: 

Brawler:

1. Fists of Fury - Raises unarmed damage from 1d6 to 1d10. 
2. Pile of Bruises - When reduced to 0 hit points, you regain 3 hit points. This can be used once per day. 
3. Sap the Sap - Once per day, you can cleanly knock unconscious one distracted person with a sap.
4. Nerves of Steel - Once per day, you may intimidate someone into sharing what they know. 

Smooth Talker

1. Kind Eyes - Once per day, you may appeal to someone's emotions, convincing them to share what they know. 
2. Fast Talker - Once per day, you may confuse someone, possibly causing them to reveal what they know. 
3. Truce - Once per day, you may talk your way out of being physically attacked. 
4. Con Artist - Once per day, you can visually or audibly impersonate someone. Requires a roll of 1d10, and any roll of 4 or below blows your cover. 

Sneak

1. Right Place, Right Time - Once per day, you can overhear someone discussing important information. 
2. Silent Step - Once per day, you can approach someone without their noticing it. 
3. Shadow Strike - Once per day, you can render someone unconscious if they are unaware of you. 
4. Invisible - Once per day, you can create a distraction and evade anyone who had previously noticed you. 

You'll notice that none of these archetypes or skills are really related to intelligence--that's because I want all detective characters to have a certain intelligence to them, and I don't believe that any of the archetypes disqualify an intelligent character. Further, since none of the skills between archetypes have a monopoly on obtaining information, any character can be vital to uncovering the mystery. As written, these skills allow players to choose their strategy and roleplaying matches in almost any way they wish. I would advise awarding players either 3 or 4 skills at the beginning of a game and then awarding an additional skill each time a player levels up, which in this case will be determined according to progress through the story (as the players discover new secrets, they will be rewarded with new skills). 

So now we have both our archetypes and our skills. We just have a few more details to work out. I mentioned in the "Fists of Fury" skill that unarmed damage begins at 1d6 and goes up to 1d10, so let's fill in other weapon information. A melee weapon grants d10 damage, and a firearm grants 1d20 damage. Though it's tempting to add a "to hit" mechanic to combat, I don't really want combat to be the heart of this game, so I would rather simply say that any attack made by a player character or a non-trivial enemy should have a 75% chance of hitting, regardless of other details. We can have our players roll a d20 and opt for 6-20 being successes, or 26-100 on a d100, or 3-8 on a d8--whatever works best for you and inspires the most excitement. I think bigger dice generally equal greater excitement, but again what works for you is what matters most. 

Then we have the issue of hit points, which are mentioned in the "Pile of Bruises" skill. Again, combat isn't our focus, but detectives often end up in precarious situations, and we need to know how much punishment they can take. I intended 3 hit points to be non-neglible but also not huge; we want a firearm to be able to kill someone in one hit and the melee options to be more drawn-out. I think that a set 15 hit points would serve us well; that would be about three strikes from a melee weapon or one accurate shot with a firearm to render someone unconscious or dead. That's about the balance I want; my detectives are not meant to be running around killing people, but solving crimes, so quick and deadly combat works pretty well, as it will discourage players from spending too much time fighting. 

You may notice that most of these skills are not dice roll-based; rather, they grant the players daily abilities to act in special ways. This means that most of the game is based on strategy rather than luck, which is ideal for a mystery game. Generally speaking, storytelling- and roleplaying-focused games benefit from less randomization, and so I have opted for less dice rolls. But if you're designing a system that is chaotic or disorienting, lots of rolls should be factored into your system. 

This is enough of a framework to playtest. When playtesting, watch for which abilities seem to tilt the game away from where you want it to go, and pay extra special attention to the things your players get excited about. After playtesting, revise your system with your findings in mind; curtail the effects of overpowered abilities and expand on the things your players enjoy the most. But don't lose sight of why you designed the game this way in the first place--you want to keep the spirit you were aiming for alive throughout any revisions unless it doesn't serve you anymore. 

All you would really need now to run a game of Truths for Sleuths would be a story. You could turn to my guide for writing a mystery campaign, or you could use the following sample story, which illustrates how Truths for Sleuths might actually run. Let's pick something that suits our setting (1970s California). I think GMs should go where their inspiration guides them, and my inspiration reminds me that tarot cards (a great passion of mine) were of great popularity in California in the '70s. So this mystery will be a mystical one revolving around tracking down a deck of fabled tarot cards which were stolen from a medium. Now, as the players investigate the missing deck, they will meet a variety of colorful characters from the mystical reaches of California: the sniveling assistant to a mystic who dreams of one day being a master mystic themself, the retired detective who has reinvented themself as a palm reader, the eccentric millionaire who pays handsomely for the advice of the mystic. The deck will seem out of reach, always changing hands before the players can locate it. And as they investigate the mystical community, strange things begin to happen, things which suggest the mystics know more than they're letting on. 

So we started from the framework of "what do we want our game to accomplish?" and now, just a few pages later, we have a full TRPG system and notes for a campaign. It's really isn't too daunting if you take it a step at a time. Just remember to keep asking the question, "how do I create the experience for players that I'm imagining?" And don't be discouraged if your ideas come slowly or if playtesting reveals you need to return to the drawing board. This is just part of the process, and the more you work at it, the better your system will become for both you and your players. Good luck, and have fun!

That's all for now. Coming soon: how to roleplay learning new skills and abilities, descriptions of temples in D&D, and details about agriculture in the gameworld. Until next time, happy gaming!

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How to Manage a Boss Fight

It's the end of your campaign, and all that's left is the final boss fight. Your players dig in for combat, and you're prepared for the BBEG to show why they're so intimidating. But how can you ensure that your boss fight is dramatic enough to merit being the finale of the campaign? You don't want it to be over too quickly, but you also don't want to wipe out your party. So how do you set up your boss fight so that it excites the players but is also balanced? Some folks would say that the answer is a carefully, mathematically-balanced encounter, but I argue that you can do even better than that by breaking your boss fight into three parts that are more scripted. Read on for how to use this method to create exciting boss fights. 

I've written something similar before: a guide to improvising encounters. That guide takes a few basic considerations and turns them into encounters, but the premise is the same as what we're doing here: we're balancing our encounters to create dramatic moments. The key difference with a boss fight is that it matters more that it be satisfying and dramatic; it's the culmination of your whole campaign. So we'll use the same concept to create boss fights that are more interesting than simply the result of dice. 

As I mentioned, you can spend a lot of time working out a mathematically sound encounter. This requires considering challenge ratings, character levels and abilities, and other details like weaknesses and spells. But you can make it simpler for you and better for your players if you wing it. No, seriously. We'll plan for three parts of the encounter, and in the final part, the players will defeat the BBEG. It's as simple as that. Obviously, this approach isn't for hardcore combat simulators; this approach is about storytelling and getting the most drama for your effort. If you like the sound of that, consider the three parts of a boss fight:

There are generally three phases you want to include in a boss fight. Part one is where the players make their first attacks or other tactical efforts. During this phase, you want the players to be able to deal a good chunk of damage to the BBEG, but you also want the BBEG to attack in a way that exemplifies why they are the final boss--what makes them so much of a badass? Part two is where the players run into trouble. During this phase, the BBEG should use a tactic that weakens the party's strategy, and they should strike hard at members of the party. You want this part to feel like the BBEG is getting the upper hand. Finally, in part three, the players pull ahead again. The BBEG should be able to make a last-ditch effort to turn the tide, and should even be able to render unconscious at least one member of the party, but ultimately, the players will win with a dramatic strike. 

Let's get into the details with each part now. Part one: the players make a strong initial showing, as does the BBEG. In practice, this should look like the party getting opportunities to strike the BBEG. I generally argue that it's better to give your BBEG a higher number of hit points and a lower Armor Class; this means more dramatic successes for the players, but an ability on your part to string the encounter along. So set a relatively low Armor Class depending on your party's level. I like to give them roughly a 50% chance of hitting initially, so a party with an average +3 to hit should have a 13 AC; likewise, a +6 to hit should mean a 16 AC. I generally let this phase of combat go for about three to five rounds or so; you want the party to hit the BBEG enough that it seems like they've done about half damage total. 

At this point, let's address the BBEG's hit points. I don't start with a number set in stone. I might decide that it has generally about 150 hit points or something like that, but this number doesn't matter very much. Whether the party is scoring 30 points of damage or 90, it should seem like the BBEG is at about half health. This just means that the players should work for three or so rounds to damage the BBEG, and it works. Whatever they accomplish should be enough. If they deal more damage than expected, just grant the BBEG more hit points in your head, but if they deal less than expected, string this phase out for another round or two until you can tell your players feel like they have made good progress. 

Then we get into phase two of the boss fight: the players run into trouble. I like to deploy a dramatic flourish here generally, usually by employing an effect that makes the BBEG harder to hit. Perhaps it's magical armor (an artifact or "Mage Armor") or simply the BBEG going Super-Saiyan; the effect is that they pose more of a threat than previous. I like to boost the BBEG's AC by enough to make the players only 25% likely to hit. To provide examples, this would be a +3 to hit with a 15 or 16 AC, or a +6 to hit with an 18 or 19 AC. Now, your players are only succeeding in hitting the BBEG half as often as they were, which allows the BBEG to deal more damage relative how much they're taking damage. At the same time, boost the BBEG's saving throws to defend more against spellcasters. I recommend a +3 or 4 bonus, but this can be adjusted with good fudging of rolls on the BBEG's part. You can go the other route with this as well: improving the BBEG's likeliness to hit the players or deal greater damage can also add the imbalance you need to create some drama. This phase of the battle generally lasts another three to five rounds. Your players need more time to deal the damage they were dealing earlier in part one. Just as important to your consideration of when to move on to part three is how much damage the party has taken. When you have one or two party members who are at about one-quarter health or less, it's time to move onto part three. 

Part three is where the players turn the tide and win. I like to use the AC-improving effect as a story moment; sometimes players will strategically try to negate the AC boost, and sometimes, the effect simply wears off. In any case, it can be helpful to have the AC boost disappear in phase three so that the party can get back on top of the encounter. You can have the boost you've granted to your BBEG disappear when a player strikes them particularly hard--basically use anything that would allow you to change the battle back to closer odds. In part three, I like to have one or two members of the party go unconscious. This really ups the drama. The BBEG should look both poised to win the battle and in fairly bad shape; we're imagining at this point (the beginning of part three) that the BBEG has only about 25% of their hit points left. This part of the battle should again be about three to five rounds, granting time to do and take damage. Then, when one of your players deal a considerably blow (more than 10 damage, let's say), the BBEG has taken all they can, and they fall unconscious. I think it's more interesting to have the BBEG incapacitated than dead, personally, so I generally have the BBEG rendered helpless rather than kill them; it should be a player choice to kill or spare a BBEG, not mine as a GM.

You can absolutely mix up the makeup of your boss fights. Add minions to the mix, use interesting terrain to create strategy, give the BBEG special powers; whatever you want can work. This guide simply shows you how to pace your boss fights for the enjoyment of your players. And trust me, your players will almost always prefer a dramatic fight than a statistically random one. It's more engaging and exciting, and that's the point of playing. 

That's all for now. Coming soon: how to design a custom TRPG, how to roleplay learning new skills and abilities, and descriptions of what each deity's temples look like. Until next time, happy gaming!

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How to Create and Balance an Economy

Money is as inescapable in tabletop games as it is in real life. The players want and need supplies, necessities, and fun, and all of those things generally cost money. It's your job as GM to have answers about everything about your world, and money is no different. To keep things consistent, you need your money to be predictable and balanced, or else money in the gameworld becomes meaningless. But balancing an entire economy can be complicated. Use this guide to develop your own economy or borrow it wholesale; the goal is that you can consistently use money in your gameworld in a way that makes sense. 

In order to get values for our economy, the first thing we need to do is determine the distribution of wealth in the gameworld. I play with a high degree of inequality because I like stories about the divide between the rich and the poor, but you can create a more equitable world by just shifting the values around a bit. I operate on the premise that the poorest of the poor make about one copper piece per day of labor, which is just barely enough to cover food costs; this means it takes the whole family unit to manage a successful household. Meanwhile, the rich can make almost anything in an average day, but I rule that the average high roller makes about 5 silver per day minimum from their businesses. But in a more equitable world, these numbers would be closer together; the poor might make as much as 3 copper per day while the rich can only manage about 1 silver per day. Of course this all depends on how rich or poor an individual character should be for your story, but it's helpful to have a baseline. In my mystery campaign, I have established that the poor in Yamseth make as little as 4 copper a week (in a world with 9-day weeks), which means that the poor are struggling especially hard there, but your gameworld and your cities should match your plans for them. 

Then we set the prices for common goods. A simple meal and an ale costs one copper, which exhausts the average poor person's resources for a day. Alternatively, the more equitable world has the poor using one-third of the wages to eat and the rest for whatever purpose they see fit. Along the same lines as this meal, which is designed as a tavern meal, a person could purchase ingredients for a meal for less than one copper. This means that copper is no longer the cheapest coin, because we would be spending fractions of a copper, so I introduce into my world the concept of copper chits; these small rounded chits represent one-tenth of a single copper piece, and so they are used for small purchases. A few reference costs: a chicken costs one full copper piece, a pumpkin costs three copper chits, a flagon of decent ale costs five copper chits, and a simple tool like a shovel costs 7 copper chits. I have found in my experience that because TRPGs like D&D place so much emphasis on expensive items like magical weapons that the cheapest items get lost in the mix. The copper chit system allows you to buy and sell simple, common items more precisely instead of all cheap things costing one copper piece. This also makes it more possible for the poor to subsist on low wages, narratively speaking at least. 

Then we have common but less cheap items. The game rules set out costs for weaponry and armor, but what of less-adventure-oriented gear? What, for instance, does a simple house cost? This can be a complicated question, as houses are stratified into many different qualities. We need a sample house for the average poor person; a small shack big enough for a bed and a stove is enough to survive on, and it should be within reach of a poor person. Let's say that someone should have to save for most of the year to be able to buy a simple house--that means that a simple house should cost about 3 gold. Most poor folks won't be able to save up that much all at once, so there should be a lending industry in place to help them finance their homes. Interest rates in a fantasy world can be anything, but I set them a bit lower than real-life predatory lending practices. Let's say that a poor person borrows the 3 gold to buy a home and that they are charged another half of a gold (5 silver) over the course of the loan. Now we have an economic system in which the poor are likely in the process of paying back lenders. Meanwhile, a midsized house will cost 5 gold pieces, a fine house will cost 8 gold pieces, and a true mansion could cost as much as 12 gold. Custom work costs more as well, as much as 20% of the price of the house itself. 

Most of the other details about prices are covered by the TRPG's rulebook. Prices for weapons, lodging, mounts, and more are all the domain of plenty of writing. It's these other details that complicate things. How many times in your GMing career have your players set out to buy a building? If you're like me, that answer is "plenty of times." Having a set price for a building is helpful for more than just having a fully conceptualized economy. 

This covers most of the pricing issues you'll face, but there's another side to the economy: labor. What does the average person get paid for their work? As in real life, that depends on the job. Obviously, more complicated or difficult tasks will pay more--that's why the hard work of adventuring makes the players some of the wealthiest people in the gameworld. (In the mystery campaign, one of the player characters is Beor, a hermit-like barbarian/druid who lives a simple life. According to the official rules, Beor started with 40 gold pieces. 40 gold pieces! That's enough to build a custom mansion thrice and still have money left over. This is the kind of imbalance you're constantly fighting as a GM: you need to make the economy work well for non-adventurers, but also not let the economy break when player characters' wealth is added to the system. So what do we pay various professions for their labor? 

As mentioned above, common labor labor doesn't pay very well: about a copper piece per day. Climbing the ladder, the next rung is hospitality work: tavern and inn employees. These indispensable folks make a bit more money as well as tips, so they're a bit better off than manual laborers. Let's say that the average tavernkeeper makes 2-3 copper per day, plus another copper's worth of chits as tips. Similarly, we have shopkeepers. Shopkeepers may own the store, in which case they take the business's profits as payment (more on this below), but they may also just be hired to take care of the business, in which case they would be paid according to how much money the shop makes--high priced items or high bulk of items would both mean that the shopkeeper gets a little extra. Let's say that this ranges from 2-4 copper per day in most shops and 4-6 copper per day for nicer shops. Then you have specialized labor: healers, enchanters, smiths, craftspeople, and others. The payment they can expect is generally tied to the perceived quality of their product or service; an expert healer or a master craftsperson would get paid more than a run-of-the-mill smith or a novice enchanter. On the low end, these experts make 5-8 copper per day and 9-12 copper per day on the higher end. 

We can see at this point that the inequality I wanted to create is very ingrained in these values. An expert healer can make as much as 12 times the amount a manual laborer can--that's quite the disparity. And yet, in the world of most TRPGs, inequality breeds narrative; the greed of the rich or the suffering of the poor are both rich with story potential, and indeed the mystery campaign has revolved around investigating the hyper-rich in ways that the poor cannot do for themselves. And as the end of the campaign will reveal (when the time comes, of course), that inequality is at the core of the story I want to tell. Adjust your economy to the story you want--it will be a vehicle for a great many adventures. 

As I mentioned above, the rules are a little different for business owners. I generally create businesses where the owner is also the main shopkeeper, but that's more of a guideline than a rule. It depends more on the business and the personality of the business owner--is this business owner the kind of person who is hands-on and likes the public, or are they willing to forego some profits to stay out of the day-to-day workings of the business? A shopkeeper gets the wages described above, but a business owner gets to keep the profits, which is generally a more rewarding route. We can stratify businesses into categories: low, middle, and high quality. Quality may refer to the reliability of goods, the customer service provided by the shopkeeper, or how well the business serves its community. It may also refer to how many customers the business usually has. Low quality businesses (poor quality, few customers, or both) might net between 1 silver piece and 5 silver pieces per day. Medium quality businesses (average quality, average customers, or a combination of low and high quality indicators) might expect to make 3 silver pieces to 8 silver pieces per day. High quality businesses (good quality, many customers, or both) can expect about 5 silver pieces to 1 gold piece per day. Keep in mind that these are averages: a simple smithy that sells common tools might make lots of small sales in a day, whereas a magic item seller only needs to make one big sale in a period of several weeks to meet the same average. And of course, if you feel that a business is exceptional (it taps into a new market, its prices are substantially cheaper than competitors', it has both high quantity and quality of goods/services), it can and should make even more money. 

This should cover your needs for the gameworld. But your players are a big part of the gameworld, and it is practically their goal to break the economy. How do you keep it intact when money is both hard to come by and required in great amounts for powerful items? This is where you can reduce the role of money in advancing your players through the game. Traditional TRPGs pose challenges to players, who are rewarded with currency in the game so that they can obtain boosts to their power. But with so many details floating around and such distortion between common uses of money and player uses of money, this can be much more than you've bargained for. That's why I often eliminate money as a reward for my players. If they want to make money, they must get creative and find a place in the world that can provide them with funds. But rewards that advance the players' powers can be separated from money; you can simply award appropriate items to your players via the story. 

An example: in the last year, I started a D&D campaign with my immediate family. My brother and sister have both played before, but my mom is new to the game. We have a good time with simple quests and lots of roleplaying (my mom loves to threaten to light people on fire). When my family completed their first real quest, I wanted to reward them. But their characters are from a small town without lots of items available, and their main interest is in getting more powerful rather than amassing a fortune. So rather than add the middleman of money to the equation, I just reward them with magic items. My family's characters are a sorcerer, a cleric, and an Ancients paladin, so I offered a few classic D&D items: they offered +2 bonuses to charisma, wisdom, and strength, respectively. You'll notice that each of these items offers a boost to the most important stats of each respective class. This allowed me to reward my players with the kind of items that will help them the most, and all without the complication of awarding money which would only disappear as soon as they located a magic item vendor. I'll acknowledge that this removes some of the choice from the players--the cleric may have wanted to become stronger rather than wiser, or they may have wanted a magic sword which can light people on fire (which I'm awarding to my mom the next time we play). It's a trade-off you have to decide for yourself. My best suggestion is this: reward your players with items directly most of the time, but also give opportunities for obtaining the items of their choice. My favorite way to do this is to have a questgiver have access to an array of magical or otherwise powerful items, and they reward the party by granting them one item each from the collection. Then you can offer a variety of helpful items and put your players in the position of strategizing which ones they value the most. 

The biggest key with money is not to be overwhelmed. It's exhausting and sometimes pointless to put a monetary value on anything and everything. My suggestion is to work on your economy as part of your worldbuilding and develop a mental sense of what you would charge for various items. Once you can comfortably come up with values for most things in your world, get to playing. As players buy, invest, haggle, or sell, help them to understand the values you're assigning. Your players have a sense of money in the real world where we live, but they're unlikely to immediately grasp the more abstract way that money works in the game. When players estimate a price that is too high or too low by a wide margin, take an out-of-game moment to confirm that they want to offer something that is noticeably different from agreed-upon values. Your players may want to be over- or under-pricing something, but you should allow them to revise their estimation if your explanation of a reasonable price changes their mind. You never want to penalize a player for not understanding something about the gameworld, as anyone who actually resided in the gameworld would not make these kinds of mistakes. Eventually, your players will get a sense of your economy, but until then, hold their hands. It will help get everyone on the same page. 

That's all for now. Coming soon: how to manage a boss fight, how to design a custom TRPG, and how to roleplay learning new skills and abilities. Until next time, happy gaming!

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Custom Magic Item List: Artifacts with Drawbacks

Magic items are one of the most sought-after things in all of TRPGs. They stand to dramatically alter the course of any game, and they can make players feel that they have greater control over their time in the gameworld. There are hundreds of custom magic items to borrow from TRPG writers, many of which affect the way that combat runs. But magic items can affect the world of roleplaying as well, and I have created a list of magic items that will affect more than the way that combat functions--they each include caveats that balance the power of the items. Read on for the full list of 33 magic items. 

When you introduce a magic item to the game, it should be dramatic. You want your players to know that they have encountered something special. When you describe the item to them, you want to provide both the mundane and magical descriptions of the item. Then, as the players use the item, you want to describe its effects in clear and abundant detail so that they get a sense of what it does and how powerful it is. Once the players have clear understanding of the item, you should continue to offer colorful description of it so that it doesn't just become another static detail in the game. 

So here are the magic items. Feel free to roll a d100 and divide it by 3 to use this list as a table of random magic items (roll again on a 100), or pick and choose the items that fit your campaign. Whatever you decide to do, keep in mind that these magic items will change the way you GM, as these items will grant the players abilities that exceed their statistically-balanced abilities granted by the game. 

1. Sword of Chain Lightning: This ornate longsword depicts leaping bolts of lightning up its menacing blade. This +1 longsword causes the player to roll a d100, and there is a 33% chance that the sword causes a bolt of lightning to leap between up to three enemies, dealing 3d8 damage to each one. Holds 2 charges per day. The wielder of the sword must succeed on a Constitution saving throw DC 15 when the lightning strikes or take half of the 3d8 damage done by the lightning. 
2. Turban of Mind: This burgundy turban has a golden charm which hangs from its center, depicting an infinity symbol. The turban, when worn, grants the wearer +2 to Intelligence and the ability to decipher one unknown written language per day. The wearer must roll an Intelligence saving throw once daily (in the morning) DC 12 or forget one day from their life permanently. 
3. Rod of Punishment: This steel rod has a large leather grip and a grid of interlocking lines that form squares all across its surface. When used to strike someone, the Rod of Punishment deals 1d6 damage for every evil deed the targeted character has committed in the last week. When this effect takes place, the wielder of the Rod of Punishment must succeed on a Wisdom saving throw DC 14 or take 1d6 damage for each evil deed they have committed in the last week. 
4. Lyre of Suggestion: This ornately carved lyre has a bough of holly branches laid out in its woodwork. When played with a Performance check DC 14, the lyre's song creates the effect of the spell "Suggestion," its magic effect targeted on a specific character. That character gets a Wisdom saving throw DC 14 to ignore the effect; otherwise, it must obey the player's command. 
5. Great Hound Token: This silver coin is engraved with the design of a huge hound and glimmers in the light. When used (once per day), the coin transforms into a great hound which can understand and obey the holder of the coin. The hound will serve in combat and has a bonus to tracking (+5 Survival). After one hour, or the hound's going unconscious, the hound will return to coin form. 
6. Magical Library: This item appears as a small, unassuming book with no writing on its cover--simply a blue circle on a green cover. When opened, the book displays the contents of any book the player has read. Can function as a spellbook as well. The book requires an Intelligence check (DC 13) to add any new information to the book, but all books read previous to obtaining the Magical Library will automatically be transferred. 
7. Amulet of Flight: This bronze amulet has a spherical ruby set into it, and it seems lighter than it should be. Using the amulet (twice per day) allows the user to move as though the spell "Fly" had been cast on them. The effect lasts one minute, and the character can extend the spell's effect with an Arcana check DC 10 for each round they wish to extend the spell. If the player runs out of the effect mid-flight, they must take 1d6 damage per 10 feet they fall. 
8. Flagon of Variety: Each morning, the flagon is filled with a random liquid. Each liquid has a different boost and lasts half the day. Roll a d100: 1-15 Coffee (+2 Perception), 16-30 Mead (+2 Persuasion), 31-45 Clean Water (+2 Survival), 46-60 Apple Juice (+2 Medicine), 61-75 Dwarven Stout (+2 Constitution saving throws), 76-90 Mixed Animal Blood (+2 Intimidation), 91-100 Elixir of Life (+1 to all skills). The player may choose not to drink the contents of the Flagon of Variety, and if so, the liquid will be magically replaced at morning of the next day. The full contents of the Flagon must be consumed before the bonus applies.
9. Spyglass of True Sight: This brass spyglass has an open eye etched into its side. When used, it both magnifies distant objects and acts as though "Detect Magic" has been cast on the user, but over distance. An Arcana check DC 16 identifies the school of magic of the active magic the Spyglass can see. The user must succeed on a Perception check DC 13 in order to use the magical effects of the Spyglass of True Sight, or else the Spyglass shows only out-of-focus shapes. 
10. Expert's Bracer: This leather bracer has thin steel plates set into the leather and an open hand etched into the central steel plate. When worn, this bracer grants the wearer proficiency bonus in one additional skill of their choosing, and this choice can change every day (the wearer selects the skill at night before going to bed). When using this skill, a roll of a natural 1 negates the effect for the rest of the day. 
11. Boots of Reaction: These leather boots rise to nearly the knee and have straps fastening the boots together at the calf. When wearing these boots, the user becomes quicker to participate in battles. The user is granted a +2 to Initiative if they can succeed on an Athletics of Acrobatics check DC 12. If the user fails this check, they take a -2 to Initiative instead. 
12. Master's Map: This item appears at first as a blank sheet of paper. If picked up, the sheet of paper will magically depict the zone around the player who picked it up as a top-down map. As the holder of the paper moves, the drawing will resize and fill in details, creating an accurate map of the area that shows only details the player can see. Until another character holds the map, it will continue to provide a depiction of everywhere the character has been with the map. Grants a +2 to Nature and Survival checks when navigating and a +4 to Nature and Survival checks when investigating an area already mapped. 
13. Top Hat of Charisma: This fancy hat is tall and narrow, all black with a burgundy ribbon, and smells faintly of potpourri. When worn, this hat grants the wearer a +1 to all Charisma-based skills. When the player encounters NPCs, the NPC should be granted an Insight check DC 14; if they succeed, they proceed with the +1 bonus, but if they fail, the player is granted a +2 bonus to all Charisma-based skills for the duration of that conversation. 
14. Brutal Handwraps: These linen strips are heavily creased and stained with dirt and blood. When worn, the Brutal Handwraps increase the player's unarmed bonus by one die (for instance, the traditional 1+Strength modifier becomes 1d4+Strength; 1d4+Strength becomes 1d6+Strength, 1d6+Strength becomes 1d8+Strength, etc.). Should the Brutal Handwraps be used to kill an enemy rather than knocking them out, the bonus disappears until dawn the following day. 
15. Passive Spectacles: These wire-frame glasses appear to be simple bifocals, but the glasses themselves are noticeably unsmudged. When worn, these Spectacles raise the wearer's passive Perception by +4. However, they also lower the character's active Perception checks by -1. The wearer finds that they are more aware of things but have a hard time focusing. 
16. Dice of Uncertain Fate: This set of dice is carved from stone, and all the ones on the dice are indicated by a symbol of Boccob, god of magic. When rolled, the dice allow a character to see the result of a die roll before committing to a course of action (once per day). Essentially, the player rolls an action before doing it; they may choose to pick a different tactic if the roll is low or accept the result if it is high. The player must succeed on an Arcana check DC 14 to accurately read the dice; a failed check means that they cannot trust the outcome of the dice well enough to use it to decide on an action. 
17. Hair Shirt of Erethor: This ugly tunic is woven out of the hair of domesticated animals like horses and yaks, and it seems big enough to fit even the burliest adventurer (though it resizes magically for smaller characters). When worn, the Hair Shirt of Erethor allows the user to maximize their effect with limited effort; the wearer may cast one spell at +2 Caster Level twice per day. The caster must succeed on an Arcana check DC 13 to cast the spell at its improved level; a failure means the spell slot if expended with no effect. 
18. Stone Toad of Woe: This small stone carving of a toad is marked by a small golden fly which seems to have landed atop the toad's head. When the toad is invoked by a magic incantation, it transforms into a living toad which hops toward the nearest wounded humanoid and transforms back into a sculpture; it uses the magical energy required to transform to stabilize the humanoid. Can be used in battle to help an ally or find a wounded foe. 
19. Pebble of Reckoning: This small, smooth, perfectly spherical stone is a mixture of grey rock and spirals of obsidian. When thrown, this pebble transforms into a small bomb which deals 3d12 damage to anyone within 15 feet of the explosion. The holder of the Pebble of Reckoning must succeed on a ranged attack DC 13 followed by a Wisdom saving throw DC 13 to explode the pebble. If either rolls fails, the pebble does not explode. It can be found again only after battle has ended and the player can search for such a small object.
20. Quill of Secrets: This long raven's feather is stained at the end with black ink. When someone uses the Quill of Secrets to write, they can inscribe an obvious message but obscure a hidden meaning by using a Sleight of Hand check DC 14. If the roll succeeds, the hidden message becomes noticeable only via an Intelligence check DC 18. If the check fails, the obvious message remains, but no hidden message appears. 
21. Borgen's Razor: This straight razor has a smooth wooden handle and a keen steel blade. If the player with Borgen's Razor uses it as a tool, it grants a +2 bonus to success on the action, but there is a 10% chance that the razor will completely destroy what is being cut. If the player uses Borgen's Razor as a weapon, it deals 1d10 damage and allows the player to make an Intimidation check at +3; if the enemy fails this Intimidation check, it surrenders immediately. In either case (tool or weapon), the player must then roll a Wisdom saving throw DC 12 or lose a turn, forced to attack the nearest living thing by Borgen's twisted spirit. 
22. Racing Pocketwatch: This copper-plated pocketwatch has a long copper chain and revealed gears and cogs inside it. When a player presses the button on the top of the pocketwatch, time slows down. The player rolls a d4 and adds +1; the result is how many rounds they can take at once. In order to use this power, the player must succeed on a Dexterity saving throw DC 12 for each round they take. If a roll before the end fails, the rest of the rounds are forfeit. This power can be used twice per day. After the player has taken their actions, they are unable to act until the rest of the involved characters catch up. This can make them vulnerable to enemy retaliation. 
23. Everburning Lantern: This burnished steel lantern is hooded to create a more focused lit area, and it has a circular arrow etched into its hood. The light from this lantern is magical and can illuminate scenes as brightly as daylight. If used during the day, the lantern instead twists and turns in the player's hand, leading them to the nearest place where non-sunlight exists (caves, buildings, forests, all pulling more strongly the darker the place is). The lantern never requires fuel and never grows too hot to hold. 
24. Cantrip Wand: This wand is thick and gnarled, with a design carved into the side like the scales of a reptile. The wand can be used up to 5 times per day, and it can cast any cantrip from any class or school of magic. The player using it may select a specific spell from the available lists or choose to have the wand select a spell; if the wand chooses, you as GM should select a spell that is both helpful and unexpected. The player must succeed on an Arcana check DC 10 in order to get the selected spell to cast; a failed save uses the slot, but no spell effects occur. 
25. Speaking Scarf: This thin strip of woolen fabric is a collection of colors which seem different every time they are inspected. When worn, this scarf allows the wearer to perfectly replicate the voice of any living thing they have heard, humanoid or animal. The wearer rolls a Deception check DC 14, and on a success, they are able to replicate the chosen voice; on a failed check, they accidentally replicate the voice of someone else. If the person they are speaking to cannot see them, the wearer's voice is undetectably different from the chosen voice. 
26. Divine Chess Set: This wood-and-bone chess set depicts the gods and demigods as pieces, forces of evil versus forces of good. When a player sets out to use the chess set, they declare the name of a god they wish to challenge. The player rolls an Intelligence check DC 17; a success means they beat the god, and a failure means that they lose. If the player wins, they may ask the god for one favor that the god must assist in, though they will only help the player advance one step in the story. If the player loses, the god penalizes them with a -2 to all skill checks for 24 hours. A game takes one hour to play, and the board can only be used once every three days.
27. The Skull of Grax: This orc's skull is oversized, menacing, and carved with either a sunset or a sunrise. The skull does nothing until either sunrise or sunset (one or the other at random each day), at which point it begins to speak and poses to the players a riddle. (Check out this guide to writing riddles for help with that.) If the party can solve the skull's riddle, it grants a +1 to the skill of each player's choice until the skull's next riddle. If the party fails to answer the riddle, they each must take a -1 penalty to all saving throws until the next riddle. 
28. The Dragon Crown of Ishbeton: This jawbone of a dragon is fashioned into an imposing crown with rubies and garnets set into it. When worn, the crown makes the wearer more charismatic but also subjects the wearer to the greed of enemies. When worn, the Dragon Crown of Ishbeton grants the wearer a +2 to Charisma and grants the wearer use of "Charm Person" twice per day. However, all NPCs who encounter the Crown must roll a d100: 90-100 means that the NPC will become enraptured with the Crown and try at all costs to take it from the party. 
29. Faerie Home: This gnarled ball of tree branches creates a wooden orb approximately 4 inches around, and a faint glowing light emanates from the center. If a player has the Faerie Home, they can use it once per day to invite the help of Fae. If the player is able to succeed on a Persuasion check DC 16, then magical Fae effects help the party. This may be in the form of help in combat, helping the party to their next story moment, or convince an NPC of something. If the player fails on their invocation of the faeries, they hear tittering laughter and are instead cursed with a -2 to Nature checks until the following day. 
30. Showman's Mask: This plain light grey mask has no discernible features and looks eerily unlike any humanoid you have ever seen. When worn, the Showman's Mask transforms into the faces of anyone the wearer wishes, including faces which they are inventing for the use. The Mask requires a Performance check DC 15 to use; if it succeeds, the mask perfectly mimics the chosen faces for up to two hours, but if it fails, the mask causes the player to take a penalty of -2 to all Performance and Deception checks for two hours. 
31. Traveler's Sleeping Roll: This bundle of cloth and padding is in fine condition and very soft; its fabric is a velvety orange. A player with the Sleeping Roll can use it to create a small camp with bedding for up to five people; when deployed with an Arcana check DC 11, it divides into the requested number of fine sleeping rolls and remains that way until dispelled or one hour after sunrise. A failed check sends up a flare into the air, which attracts bandits and monsters alike, likely forcing the party to relocate before calling it a night. 
32. Scales of Appraising: This iron balance has mechanical devices attached at the crux of the machine to calibrate its workings; it is slightly oversized, and swings freely when nothing is placed on it. When a player uses the Scales of Appraising, they are able to place two of anything that will fit or be balanced onto each side, and the side which is worth more will appear heavier regardless of the physical properties of the weighed items. To use this, the player must succeed on an Insight check DC 10. On a success, the scales will emit light and show which side is worth more; on a failure, there will be no light effects, and the scales will show that they are equal in value. (Note: if the two items weighed are actually equal in value, the scale will swing back and forth rather than staying still.) 
33. Scouting Mirror: This small, circular mirror is made of steel and never seems to accumulate any smudging on the surface; on its back is a symbol of two identical figures. When used as an ordinary mirror, the item will function normally. But when used to peer around corners, the mirror gains a magical ability: it surrounds the outline of living things in a faint glowing light on the mirror's surface, including those who are obscured from direct view. This effect requires a success on an Investigation check DC 13; a success shows everything viewed through the mirror for the next hour, but a failure means that the mirror goes see-through for an hour and can't be used again until then. 

So there you have it: 33 magic items that do not appear on other lists, each of which turns having a magic item into a tactical decision rather than an unmitigated increase to the players' power. The goal here is to be able to reward your players with magic items that complicate and enrich the way they play, and by balancing each item with caveats, we can give many of these items to players even at lower levels. So use these items or some of your own design with these kinds of balanced powers, and you'll be able to use more magic items without worrying about players becoming too overpowered. And of course feel free to adjust the numbers involved in these items; I've gauged them for levels 4-10 or so, but some tweaks could scale them up or down. And of course you can get rid of the balancing effects and just grant your players exciting new powers.

That's all for now. Coming soon: how to balance your gameworld's economy, how to manage a boss fight, and how to design a custom TRPG from scratch. Until next time, happy gaming!

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How to Write Riddles for Your Players

Riddles are a classic part of TRPGs; they guide the players from point A to point B with some critical thinking on the players' part. But riddles are also a difficulty in gaming, as they create a circumstance in which the players must think through a problem with only one correct answer. Further, many players have encountered a variety of riddles in their lifetimes, and your presentation of a tried-and-true riddle may mean that the players are supposed to work through a riddle that they've already heard plenty of times. Read on for how to create your own original riddles and how to keep players on the right track. 

When I ran the National Treasure campaign, I had to include riddles. My players were tracking down powerful magical artifacts in hopes of attaining great power, and the format of the movies the campaign was based on called for riddles leading from clue to clue. I had to create a system of interconnected riddles that would guide the players across the continent. I originally wanted to place a riddle clue in each of the major cities on the island, but my players were more the type to get into shenanigans than follow a story, so I shortened the riddle count to five. The riddles the players answered described locations to find the next clue. This makes the riddle different in nature from traditional puzzles, as they are more of a scavenger hunt than a single riddle challenge. As I continue, I will break down the difference between location-based riddles and answer-based riddles. But first: what makes a good riddle? 

A strong riddle is specific enough in its clues that only one answer should be right. A strong riddle should be long enough to include specific information, but not so long that the information in the riddle gets overwhelmed. And finally, a good riddle should have a certain sound to it: it should be mystical and broad in scope, and it gets bonus points if it rhymes. Writing a riddle isn't as difficult as it may seem at first. If you work backwards, you can usually come up with something that will work well. Imagine something that exists in your fantasy world; it could be common, like grass or a spoon, or uncommon, like a wand or a beholder. Then try to come up with three descriptions of the thing that are vague enough to not give away the riddle. I'll do one common and one uncommon version by way of example. A spoon is shiny, curved, and carries things. (Not a lot of work here, just defining a spoon in a way that it would be hard to define something else.) On the other hand, a wand is long and thin, made of natural materials, and can be used to invoke energy. (These are a bit more specific, but only because a wand is something that doesn't exist in our world, so we want to make it a little clearer for players who might not be thinking in the gameworld.) Now that we have the details, we can write the actual clues. "What curves like a river and shines like a star? You use it to carry, but not very far." So in three short steps, we've gone from our answer to clues to the final form of the riddle. The wand example now: "Built of the wilds, long and thin like a road; using this right or wrong may cause stuff to explode." [If the rhyming element of the writing process is giving you a hard time, might I offer to pieces of advice: (1) play around with word choice until you have a common word ending, and (2) use RhymeZone to find good matches for what you need.]

With riddles like these, there is always the possibility that your players will name something that does fit the description but wasn't your intended answer. For instance, I tried the spoon riddle on a friend, and they came up with "shovel." A shovel is curved, and it shines as much as a spoon does; it also doesn't usually carry things very far. If I posed this riddle and my players answered "shovel," I would have the riddle-giver grant them correct and disclose the intended answer as well. There's no point in holding players to an exact answer if they're successfully being clever and playing the game by the rules. 

These are examples of answer riddles, riddles in which solving the riddle is the endgame of the riddle process. By this I mean, you are likely to have instituted answer riddles as part of a challenge with a powerful enemy or in a dungeon. We're thinking of the classic Lord of the Rings "speak friend and enter" kind of riddles, where solving the riddle allows a story mechanism to advance the players because of their completing the riddle. But you can also write interconnected riddles which lead to one another as part of a larger "scavenger hunt" style series of riddles. This means that instead of crafting a riddle that has an answer like we did above, we need to indicate another location. This can be slightly more challenging because the riddle must indicate an exact place on the planet rather than simply having a broad answer. But it's still very doable. Let's say we have players who need to solve two riddles to go from where they've begun (a noble's estate) to another riddle location (a mausoleum in the countryside) to the final location (an abandoned temple in the forest). To do so, we'll need two riddles to get them there. 

Our first riddle appears at the estate and directs the party toward the mausoleum. So we treat this specific mausoleum as the answer to our riddle. We need three details about the mausoleum: it belongs to the Orrin family, it has a large griffin carved into the roof, and it lies 50 paces from the meeting of several roads. It's worth noting that unless the party has been to this mausoleum before, this clue still won't mean anything to them, really. They'll have to ask around for a place matching this description, or do some research at a library, or simply start checking out mausoleums across the countryside. But the important thing is that when the players do encounter this specific mausoleum, they'll have everything they need to identify it as the correct one. But let's go ahead and convert these details into a riddle: "Of Orrin clan and griffin-defended, this is where the journey ended; step away from the meeting of paths, and go 50 paces toward the aftermath." This riddle is a little longer than the ones above because we need more details to make the place specific enough. 

Then we'll follow up with the second riddle for this example: going from the mausoleum to the abandoned temple in the forest. Let's decide that the temple is a shrine of Ehlonna, fallen into disrepair and overgrown by plant life. It lies at the heart of the forest, where no light can filter through the treetops. And it is marked by a carving of a unicorn into the elaborate floor of the temple. Again, this temple would only be an obvious answer if the party is returning to it, so you may need to have them investigate to find it. Our riddle will again be longer than our first examples. "The woods' defender overgrown, and draped in vines, to light unknown; a unicorn carved on the floor, and nothing like what came before." This riddle is specific enough to indicate this temple in particular, and as they players enter the temple, they will be excitedly pointing out the details that match the riddle. It will be a confirmation they'll solved the riddle correctly, which will be exciting for your players. 

In general, you want to err on the side of being more simple and direct with your riddles. Think about it this way: if your players solve a too-easy riddle, then the game continues a little quicker than anticipated. But if the players can't solve a too-difficult riddle, then the whole game grinds to a halt while the players, more frustrated and delicate now that they can't progress, reach evermore desperately at possible answers. Don't let this happen. You can prevent it from ever being an issue if you just tune your difficulty down a bit. 

Even with your best efforts, though, your players may run into difficulties. Even a well-designed riddle can stump players who are simply thinking in different ways than your riddle requires. It's useful in that case to have a backup plan. If you have an NPC hanging out with the player characters, have them offer a "hint," by which I mean have the NPC take a guess that's along the right lines but still wrong. It may jumpstart the players to consider similar options and get them closer. If you can't do that, you can always opt for out-of-game hints, which I dispense based on the result of Intelligence checks: get a 15 or higher (depending on the riddle, this DC goes up or down) and receive an out-of-game hint. Let's provide an example from the spoon riddle. The players just aren't getting it; the curved shiny idea has them thinking about weapons like scimitars rather than spoons. So you allow an Intelligence roll, and one of your characters meets the DC, so now you offer a hint: "It is much smaller than a sword, but it is gripped the same way." Or "It is not meant to carry very much, but its entire purpose is to carry things." These bonus clues are very minor; they more add one extra detail to the big picture, and that's what you want. Try to add one more detail every time you use this strategy, giving the players a chance to solve the riddle without your completely giving it away. 

There are lots of ways to use riddles in your game. As mentioned previously, you can have riddles be a part of dealing with certain NPCs for moving through a dungeon; you can have a series of interconnected riddles which move the players through a story; you can have your players solve riddles as part of a narrative that focuses on player ingenuity. But a well-placed riddle can be a great challenge to your players in other circumstances as well. When your players meet a wise but slippery NPC who they need help from, that NPC can refuse to help the players until they solve a riddle. When dealing with the gods, the players may be forced to solve a riddle before speaking with the powerful entities. You can even use riddles as a traveling game, having NPCs the players are traveling with spout riddles for the players to solve as they go. Whatever way you want to insert riddles in your game, the actual writing of them can be simple and add a good deal of excitement to your game. 

Maybe the riddle-writing concept is still intimidating, or maybe you want more examples of riddles to work off of. Here are ten more riddles with their answers:

1. Round as the sun which marks the day, it keeps what eludes all else as it inches away. (Clock)
2. What speaks any language but cannot make a sound? What can fold up and be carried around? (Book)
3. What feeds villages that doesn't grow from the earth? It is a thing created from birth. (Milk)
4. These small things can simulate fate; with a flick of the wrist, the stakes they dictate. (Dice)
5. What blocks out the sun and locks out the cold? What has a way to block the threshold? (House)
6. From stock of soaring wings, you wouldn't think | that its greatest journey would be ink. (Quill)
7. What language can excite you without your comprehension? Its voice is made by changing patterns of tension. (Music)
8. Silent and stealthy, it hides from all; it comes naturally since it is so small. (Mouse)
9. Metal and curved is this tool for the poacher; it's often employed with an attached floater. (Fish Hook)
10. What is sized for people, but always larger than they? It is where people go for hours to stay. (Bed)

That's all for now. Coming soon: a list of custom magic items, how to balance your game's economy, and how to manage a boss fight. Until next time, happy gaming!

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How to Use TRPGs as Therapeutic Tools

Perhaps the most important thing about tabletop games is that they allow the player a sense of agency. A player of D&D, for instance, holds in their hand a greater ability to make decisions than they do in any other type of game. And the ability to make meaningful choices paired with the safe, imaginative space that the game allows for means that players can use the game to conquer their emotional issues, provided their GM is attentive and considerate. You can use your game to cater to your players on an emotional level so long as you work closely with the player to tell that story. 

When I was playing in a campaign years ago, I created a character named Zig. Zig was a corrupt cop, more or less, and I created him because I wanted an outlet to explore my real-life issues with guilt. I thought by playing an inarguably troubled character would give me the space to work through both his guilt and mine. I worked with my DM, who provided plenty of roleplaying moments for Zig to become a better person. In game, Zig went from a drunken liability to a player favorite and emotional heart of the party. Out of game, I began to process my feelings of guilt with the same mindset that Zig learned: we accept and learn from our pasts so we can improve our collective futures. In the end, I advanced as a person because of what happened in our game, and I will always treasure that. My game experience was much greater than a simple adventure, and that lesson stuck with me. 

Let's flash forward a handful of years. Recently, I was offering a guest lecture on TRPGs in a university class on Electronic Literature and Video Games. After the lecture and discussion, I got a private message from one of the students. They had been interested in TRPGs as a therapeutic tool, and when I had spoken about my use of Zig, they knew they wanted to discuss things further with me. We've been emailing for a number of months now, brainstorming ideas for how to construct a unique TRPG built around offering therapeutic experiences to players. We've ranged widely on what constitutes the framework of the game, and I will keep the details of the game private for my collaborator's sake, but I want to provide a general sense of what you can do to help your players through the game. 

Before I go any further, let me place an enormous disclaimer here: unless you are a trained mental health professional, attempting to therapize someone is a delicate thing. If your players are dealing with serious issues or any kind of mental illness, they need real help. A session of helpful explorative gaming will not be enough to help them. Help them in getting help, and only try therapeutic TRPGs on small, nearly trivial issues. If the issue is something the player can live with day-to-day, feel free to explore it with the player at their comfort, but do not under any circumstances deal with real trauma this way. What I have worked on with my collaborator is based on heavy reading in the field of psychotherapy, and until that information is more distilled and ready for public consumption, it would be a mistake to jump in and overcommit to this idea. So if you have a willing player and the issue you're working on is minor, go forward, but be cautious. 

The first step is in talking to your player about the issue. Try to gain an understanding of what the heart of the issue is: does the player lack confidence? Do they need practice dealing with conflict? Are they afraid to express themselves in the face of disagreement? Ask lots of questions, of course being sensitive to the player's privacy, trying to understand what motivates the issue. If it's a lack of confidence, for instance, is the core issue a poor self-image, or is it a feeling of not being able to affect things? Once you have a sense of the root cause of the issue, it's time to write some moments in where the player can develop the right behaviors. 

Let's stick with the confidence issue, assuming that it is based in poor self-image. We want to create moments where the player can act differently than they have, but without forcing them to make the right choice. Remember that agency is vital here, and only by making the choice to change behavior will the player get the lesson. So we create some story moments to challenge the player. To begin with, we want to build the player up a bit: let's have an NPC meet the players and warmly compliment the player with confidence issues. Now they have to confront the feeling of being praised even when they disagree with the praise. Then we up the difficulty a bit: let's have a traveling vendor give the player a hard time, both jokingly praising and jokingly taunting the player in a public way. This gives the player the opportunity to address their confidence issue in a true-to-life way. Finally, once the player has made some progress (let's say you repeat similar trials for the player until the surpass the challenge), we really challenge them. This time, we'll have a loudmouthed jerk target the party, mocking each of them in turn. They give special attention to the player with confidence issues' character. Now the player must face their insecurities in order to progress past the challenge. This kind of gradually built-up challenge allows the player to use their character as a relatively safe space to investigate these feelings in a practical way. But only when the player character exhibits a genuine and substantial improvement to their reaction should you move on. These three steps would be expressed in game as about 10 roleplaying moments: about 3 trials before improvement is shown for each step. 

This kind of outline is simple, and your actual plan for your players should be longer, more gradual, and customized to their rate of progress. It's important to remember that reforming mental connections and creating new habits is literally the hardest thing for the human brain to do, so be patient with your players. Check in with them often: are you feeling comfortable? How should the next challenge go? Should I ease up a little bit? Remember that TRPGs are meant to be fun, and if your attempt to help your players erases the fun element of it, you've stepped afoul of the process. 

You should always run your plan for trials past your players and establish a safe tone. People are sensitive to the things that create difficulty for them, and you should take care to do only as much as the player wants to. Once you've reviewed, stick by your plans--no ad-libbing--allow the player to respond in whatever way they find appropriate. Talk again with the after playing to fully understand what the player is feeling and where they want to go. This model requires you as GM to more than ever to have your players direct these stories, so be ready to hand over control in ways you may not have before. 

I hope this much goes without saying, but just to be clear: never, ever attempt to provide therapeutic TRPG time to players without discussing it first. That would be a colossal breach of trust, it would not work, and it would harm your players. You don't want to do it, I assure you. Instead, take your time explaining the idea to your players and see whether anyone is interested, and only then can you slowly proceed. If you have any doubts about your ability to be an unconditionally compassionate and patient helper to your players, forego this idea altogether. 

But if the stars align, and your player(s) is/are ready to add emotional growth to their game experience, you have the potential to create a memorable, meaningful story which will be with your players for a lifetime. Zig remains an integral part of my growth in my mid-20s, and I will never forget what it was like to let go of so much weight just by playing a game with intention. Just remember that playing god in a TRPG is one thing, and playing god with a player's emotions is another. Be careful, be compassionate, and be creative; these are the steps to creating a positive therapeutic experience through a TRPG. 

That's all for now. Coming soon: how to write original riddles for your game, a list of custom magic items, and how to balance your gameworld's economy. Until next time, happy gaming!

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How to Help Players Customize Their Characters' Appearances

You've probably seen it in just about every video game you've ever played: customizable appearances. Some games' entire reward systems are new pieces of fashion or armor and weapons. Just because they do it doesn't mean you have to, but customizing appearances is an immensely satisfying thing for players to do, which is why so many games include it. You can allow for and even encourage players to express themselves and their characters by customizing their appearances, and all it takes is a bit of creativity and a willingness to let the players guide the process. 

The easiest way to let players express their appearance is through their clothing. It's something that we can take for granted that at least most of a character's clothing match their sense of style, so have your players describe their clothing and appearance otherwise when they introduce themselves and continue to describe outfits so that other players get a sense of their characters. You can create opportunities for players to get even more invested by providing clothing shops in the towns they visit and allowing them to add new items to their wardrobe. Act like a salesperson: give information about anything they ask about, but guide them to a few specific items you think they'll like. Unless the players are asking for something that couldn't exist in your setting, have it be in stock. Anything special (like a tuxedo in a fantasy setting, for instance) will take a custom commission. 

Another element of appearance customization that you can easily implement is tattoo artists. I'll admit I'm biased (I have full sleeves, knuckle tattoos, and a few other pieces), but I think tattoos are rad. And when the player themselves doesn't have to endure being needled repeatedly for hours, tattoos are an even more attractive prospect. I will simply introduce to a scene a traveling tattoo artist who offers reasonable rates and seems quite talented. If the tattoo idea proves popular, the artist can become a recurring part of your campaign. Tattoos can be a great way for players to personalize their characters, and they can affect the story as well; a character who rolls a 15 on an Intimidate check might be a little more impressive when the character is covered in tough-looking tattoos. Players should be encouraged to design their own tattoos, but the artist is willing to suggest classics, like a snake, a wolf, a heart, the name of a loved one, sun-and-moon, or a dagger. [Details on tattoos in my world can be found here.]

Players may want to alter their physical appearance for a variety of reasons. When I ran Listen Check, one of the characters ran afoul of the law and wanted to create a non-magical alter ego. In cases like that, why not provide a scene in which the player goes under the knife? In the show, I created the Patchwork Man, a monstrous figure who had experimented on himself to learn surgery. The scene was tense, the Patchwork Man was creepy, and the players were on the edge of their seats. It was a good digression from the story that contributed to the story in big ways, as that character now needed to collect his "old" affairs as his "new" self.

Then you have the matter of actual gear. Most TRPGs attribute statistics to various types of gear, but you can still get imaginative with different styles. I think about it this way: Dungeons & Dragons, at least, exists in a world of artisans. Unlike in Skyrim, no two pieces of leather armor would ever look exactly alike. In fact, artisans can make more money by selling more specialized pieces than just industrially turned-out products. So your description of gear should match; provide customized descriptions for pieces of armor. I like to offer 2 or 3 of the same item, but each with a different design. It would sound like so: "You're looking for light armor, eh? I've got this padded armor that triple wrapped in burlap, and this other beige padded armor that comes with a matched padded helm. Then I've got leather: this one is shaped like a cascade of leaves, in the elven style; this one is made or stacked layers that would absorb a punch like nothing; this one in the dwarven style, with squared off edges. And I've got two studded leathers: this dark-stained gnomish build with double the normal amount of studs, and this craftsman cut that looks like a tortoise's shell." That's a lot more information than you would normally provide during a shopping trip, but the players will appreciate it--and may even custom commission a piece with a design of their own choosing. [Check out detailed descriptions of common items here.]

Just as armor is treated in this way, so are weapons. For the same artisan reason, weapons should generally have more to them than just the type of weapon. Weapon descriptions should again offer 2-3 options for players and describe both unique traits about it and its general appearance. If you want to get more detailed, please do! But the bare minimum is what I've outlined here. In practice: "Ahh, it's a dagger you want? I have three fine daggers are a handful of average blades I wouldn't sell such a discerning customer. Here's this one, a stiletto with a blood groove favored by halfling assassins. Then we have an orcish hunting blade, long and curved with a topaz set into the grip. And finally, a short, wide blade, meant more for chopping than stabbing. Great grip; impossible to drop." Now if the character decides to buy one of these blades, they'll be picturing it this way every time they use it in combat. That's worth taking the time to extend shopping trips. 

Magic items likewise deserve time and attention for description. In fact, magic items are supposed to be fantastical. In my homebrew world, even non-magic users can tell when a spell has been cast in some cases just from the feeling in the air. You don't have to go that far, but your description of magic items should suggest that they're more than meets the eye. Let's use a classic example: a wand of magic missile. Maybe a wizard looking to conceal the fact that they're using a wand would want a simple stick that could be mistaken for nothing useful, but for vendors selling the wands, it's beneficial that the wand itself look powerful and enticing. Let's say a character in your campaign walks in to buy a wand of magic missile. Is that the end of the transaction? I hope not. Offer some designs for that wand: one with lightning bolts carved into the wand, one with fingerbone-like segments, and one with a symbol of Boccob burned into its handle. That's a much more interesting deal than simply buying a wand. 

I'm sure that there are some GMs who scoff at this advice. "We can't even see the characters anyway. Why do these detail we can't see matter?" But the players can and do take these details to heart. Part of roleplaying is experiencing the full range of the character's reality, and appearances are an important part of that. Part of what makes the game fun is agency, and allowing your players the agency to design every aspect of their appearance is an expression that will get them invested.

Once you've gotten your players used to the idea that they can affect the details of their character's life through small actions like deciding cosmetic differences for them, they'll start to realize that they can assert that same agency elsewhere in the game. Shopping trips are an easy way to open the door for players to really express themselves. 

That's all for now. Coming soon: TRPGs as a therapeutic tool, how to write good riddles for your party, and a list of homebrew magic items. Until next time, happy gaming!

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How to Involve Player Character-Related NPCs in Your Game

Player characters are often isolated characters, people with no ties to anyone outside of their adventuring party. It's a classic tradition to create characters who have tragic pasts with no living relatives; player characters are rarely involved with other characters in any meaningful way. This serves the player in that they are able to create characters who stand in the story without the support of a network of people who know the player character. And yet, no person is an island. Even the most fiercely independent player character is likely to have formed a bond with someone in their life. And you can use player character NPCs in your story to great effect. Read on for tips on how to do so. 

The first step in this process is encouraging your players to develop backstories with NPCs in them. When I played Zig years ago, I spent considerable time developing a network of NPCs with whom Zig was close. Zig was a married man with children, and he was estranged from them, so there was a lot of dramatic potential for storytelling. I also wrote about every other major figure in his life, including family, friends, and mentors. Going off of this, my GM was able to integrate Zig's NPC relationships into the game. Zig's wife gave him another chance to make their family work, and Zig ended up spending a lot of time working on those relationships. And though my GM never made use of it, he always had the potential to use Zig's family as bait for the BBEG. From these two positions alone, it should be apparent that player character NPCs can be extremely useful in a game. 

I have run games where player character-NPC relationships have become significant as well. When I was running Listen Check, Soren was a character who was affected by his relationships with NPCs. He wanted to tend to the wellbeing of his family, so he was often writing letters to them and sending them money; his hometown was eventually built up into a bigger, better place as a result of his funding it. Further, Soren developed a romantic relationship with an NPC, Spurla. Soren and Spurla hit it off rather quickly, and by the end of the adventure, they were bound for a new adventure together: starting a family. Soren's story was perhaps the most emotionally-driven of the player character stories from that campaign, and that Soren was played by a rookie player reveals that the veteran instinct to create unmoored characters does not always serve us. 

So you should encourage your players to create NPCs who are important to them for the sake of realistic storytelling and your ability to dramatize their relationships. To do this, ask players to come up with a few people with whom they have regular contact. Even a hermit character is likely to have to work with or buy supplies from another person at some regular interval. For most player characters, you want the player to create at least three NPCs. They don't have to design every detail of the NPC, but the more they decide about the character, the more their vision of their character will be within their hands. These relationships can be familial, romantic, financial, friendly, marked by rivalry, or educational; what matters is that the player understand the kind of dynamic they have with the NPC and communicate it to you so that you can roleplay it. 

Once you have your roster of player character NPCs, you have some brainstorming to do. How can these people take part in your story. It may be possible to replace a character in your notes with an NPC from your players--in that case, substitute them and watch as your players get even more invested in the story. If you can't or don't want to go that route, at least use the NPCs during downtime. When player characters catch up with these NPCs after some adventuring, the NPCs should be able to talk about what they accomplished that day and ask questions of the player characters that show they're invested in the player characters' lives. Basically, you have to choose between telling the story with the NPCs or creating a new mini-story that involves the NPCs. 

If you're telling the story with the NPCs, you'll want to make sure that your understanding of the NPC matches the players. It defeats the purpose of player character-designed NPCs if your version of them doesn't suit what the players intended. Remember that your roster of NPCs should be true to the player's vision, but also that the NPCs can surprise them. Imagine a campaign in which the players were chasing a shadowy assassin, only to discover near the end of the story that the assassin was one of the player character's NPC relations. Doesn't that have more drama and excitement than simply having a BBEG? 

If you're creating a new mini-story for the NPCs, you have plenty of options. Consider the goals of the NPCs as designated by the player characters. How can they pursue these goals while the adventure goes on? Perhaps you have a player character who has a steady romantic partner who is a healer. While the player characters are off adventuring, that NPC is off working on improving their healing and helping the needy. Perhaps the healing NPC tends to the wounded of the player characters' enemies, and now there is a conflict between the ideals of the party (defeating wrongdoers) and the ideals of the NPC (helping anyone who needs it). Now the player characters have to take a different approach than they normally would; they can't escalate the conflict with their close ally, and instead must talk it out. This makes better storytelling than if the player characters had no one to answer to. 

Here are a few ideas on how to incorporate NPCs into your stories:

• A player character's business partner wants to invest in a new business venture. The player character hears that the new business venture requires working with a shady person. The player character must work with the business partner to make or not make the deal. 
• A player character's younger sibling has gotten into some trouble with the local guards. They were carving profanities into the frames of houses throughout town, and now they must remain in the stocks for a day. The younger sibling requests help contesting the charges and escaping the stocks. 
• A player character's significant other needs to travel back to their hometown because their mother is sick. They must walk dangerous roads to get there and don't know how long they will have to stay. The party must assist in whatever way they see fit. 
• A player character's friend finds a magical charm along the road while traveling, and they believe it makes them wiser. Their behavior, however, becomes increasingly erratic. The player character can tell that the charm is causing this troubled behavior, but the friend is defensive of the charm. The party must do what they can to convince the friend of the harm it is doing. 
• A player character's mentor is aging and wants to retire from adventuring. They need just a bit more gold in order to comfortably end their career, and they look to the player character for help. They are willing to go on one last job with help to secure their future. 

Keep in mind that these small stories don't have to be wide-ranging to engage the players. The fact that they're dealing with NPCs of their own design will encourage them to treat the matter with seriousness and priority. And any twist in the story brought on by these NPCs will be automatically relevant to the players--they will carry the player characters with them wherever they go. So encourage your players to develop backstory NPCs and drop them into your game wherever appropriate. You'll find that they spice up the narrative and add considerable meaning to the game. 

That's all for now. Coming soon: how to customize player character appearances, how to use TRPGs like therapy, and how to write riddles for your players. Until next time, happy gaming!

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